Wednesday, July 21

ABC SCOPE (ABC, 10:30-11 p.m.).* "Harlem: Summer '65": Jesse Gray, Adam Clayton Powell, James Shabazz and other Negro leaders discuss the possibilities of more Harlem riots this year.

Friday, July 23

FDR (ABC, 8-8:30 p.m.). "Going Home": Roosevelt's death at Warm Springs, Ga., on April 12, 1945, with reminiscences by Elliott Roosevelt, Anna Roosevelt, Laura Delano and Henry A. Wallace.

BOB HOPE PRESENTS THE CHRYSLER THEATER (NBC, 8:30-9:30 p.m.). Lee Marvin, Patrick O'Neal and Polly Bergen try to win the America's Cup on soapy seas. Color. Repeat.

Saturday, July 24

ABC'S WIDE WORLD OF SPORTS (ABC, 5-6:30 p.m.). A climb up the Matterhorn in Switzerland and water-skiing at Pine Mountain, Ga.

SATURDAY NIGHT AT THE MOVIES (NBC, 9-11 p.m.). Anna Magnani, Anthony Quinn and Anthony Franciosa in Wild Is the Wind (1957).

MISS UNIVERSE BEAUTY PAGEANT (CBS, 10-11:30 p.m.). Sally Ann Howes is hostess to the 14th annual event in Miami Beach. Live, but rarely lively.

Sunday, July 25

MEET THE PRESS (NBC, 5:30-6:30 p.m.). Interviewed at the Governors' Conference in Minneapolis: Governors Grant Sawyer of Nevada, Karl Rolvaag of Minnesota, John Connally of Texas, William Scranton of Pennsylvania, Mark Hatfield of Oregon, and Robert Smylie of Idaho.

NBC SPORTS IN ACTION (NBC, 6:30-7:30 p.m.). Two French events: the Grand Prix at Clermont-Ferrand, the steeplechase at Auteuil.

THE SUNDAY NIGHT MOVIE (ABC, 9-11 p.m.). Billy Wilder's One, Two, Three (1961), in which James Cagney plays a Coca-Cola exec fighting the ice-cold war in Berlin with poise that refreshes.

Monday, July 26

THE MAN FROM U.N.C.L.E. (NBC, 8-9 p.m.). In "The Bow Wow Affair," THRUSH tries a putsch with some pooches, but Napoleon Solo and Illya have the last bark. Repeat.

THEATER

While most of the season's offerings have entered the archives, the fittest few have survived for summer theatergoers:

On Broadway

THE GLASS MENAGERIE. Although shadowed by miscasting, Tennessee Williams' 20-year-old drama is still evocative and haunting.

HALF A SIXPENCE, a musical adaptation of H. G. Wells's Kipps, gets its glitter from Tommy Steele, a toothy grin that sings and dances, and is proving to be one of England's more popular exports.

THE ODD COUPLE. Two men breaking out of wedlock find the freedom of regained bachelorhood more agony than ecstasy. Walter Matthau and Art Carney are hilarious as mismatched roommates.

LUV. Murray Schisgal displays three contemporary ids indulging in a slapstick conversational orgy, and in the process brilliantly satirizes the playwrights of the absurd.

THE OWL AND THE PUSSYCAT. In Bill Manhoff's screechingly funny comedy, Diana Sands is more tiger than kitten as a prostitute who unstuffs a stuffy book clerk (Alan Alda).

FIDDLER ON THE ROOF. Zero Mostel gives body to a spirited hit musical derived from Sholom Aleichem's tale of Tevye and his five daughters, their joys and troubles in a czarist Russian village.

Off Broadway

LIVE LIKE PIGS. Violence erupts when a band of nomads is forced to settle in a housing development in the north of England. British Playwright John Arden makes an auspicious U.S. debut with a boisterous and stunning play.

KRAPP'S LAST TAPE, by Samuel Beckett, and THE ZOO STORY, by Edward Albee. Two fledgling classics--one about an old has-been, the other about a young never-will-be--are unsettling and provocative.

THE RISE AND FALL OF THE ENTIRE WORLD AS SEEN THROUGH THE EYES OF COLE PORTER. The Porter wit and worldly wisdom shine through his lesser-known songs in this bright and bouncy revue.

VIEW FROM THE BRIDGE. Arthur Miller's brooding tragedy fuses Greek themes with the story of a Brooklyn longshoreman and his family.

THE ROOM and A SLIGHT ACHE. Harold Pinter's one-acters are opaque finger exercises on the theme of dread.

RECORDS

Ballads & Broadway

NANCY WILSON TODAY-MY WAY (Capitol). These are hit songs of the last couple of years, and most of them have never had it so good. All Nancy Wilson's celebrated virtues--polish, vitality and intelligence, mixed with a dash of the late Dinah Washington--are much in evidence. She sings with such relish that the listener feels sure that she would be belting them out all the time for fun even if it hadn't made her rich.

FLORA, THE RED MENACE (RCA Victor). Liza and lyrics are the story here. Liza Minnelli, when she isn't trying to break the Streisand barrier, is sprightly and winning with a talent for singing a song from the inside plus a little of the Rex Harrison magic with talk songs. This is fortunate since Composer John Kander's Broadway score is notable mainly for recitatives and some Brechtian impressions. Fred Ebb's lyrics have drive and irony appropriate for hungry young people looking for jobs and ideologies to cling to.

BOBBY VINTON SINGS FOR LONELY NIGHTS (Epic). Bobby remembers that in his high school there were 300 shy introverts for every ten successes. He aims at the 300, and the assault is awesome. Backed by a big orchestra, a diaphanous chorus and an echo chamber, Vinton takes the most self-pitying lyrics imaginable and invests them with beat and warmth. A teen-ager could get a crush on any one of them.

JACK JONES: MY KIND OF TOWN (Kapp). Jack's town is filled with melody but is still uninhabited. Timing, phrasing, diction, breath control are all estimable but no personality emerges. He is at ease with ballads, blues and patter songs, and when he learns to let go with the lyrics he may become the great interpreter that admirers like Frank Sinatra have predicted he will be.

DO I HEAR A WALTZ? (Columbia). This musical adaptation of The Time of the Cuckoo is far from Rodgers' best, but still it is a pleasant score and shows off admirably the talents of Elizabeth Allen, Sergio Franchi and Carol Bruce. Almost alone among current musical comedy composers, Rodgers understands the human voice and writes for it lovingly. This love gives charm even to the ballads that sound like reprises of older Rodgers songs.

BARBRA STREISAND: MY NAME IS BARBRA (Columbia). On that enchanted evening long ago when she first captured an audience with Who's Afraid of the Big Bad Wolf?, a little bit of Barbra stayed right there. Many of these songs from her smash TV special are about childhood, and she is at once sophisticated and ingenuous, smart-alecky and enraptured.

ROBERT GOULET: BEGIN TO LOVE (Columbia). Goulet applies the bellows impartially to twelve fine old favorites. His baritone is as rich and powerful as ever, but the arrangements are unusually distracting. In one bizarre number, Bob is breaking The Still of the Night while his pianist is purposefully noodling out a classical two-part invention.

CINEMA

THE FASCIST. A bungling Blackshirt corporal (Ugo Tognazzi) and his philosophical prisoner (Georges Wilson) turn their clash of values into a sly satire of Italian history, circa 1944, mixed with equal parts of compassion, reminiscence and rue.

THE KNACK. There is more than enough running, jumping and New Cinema gimmickry in this movie version of the New York-London stage success, but the sight gags are often hilarious and so is Rita Tushingham as the girl pursued by three oddball British bachelors.

A HIGH WIND IN JAMAICA. A crew of pirates led by a reprobate captain (Anthony Quinn) falls under the spell of seven seemingly innocent children whose adventures at sea project all the fun and much of the fury of Richard Hughes's quasi-classic tale.

THE COLLECTOR. Director William Wyler's grisly, gripping thriller, adapted from the bestseller, about a lunatic butterfly fancier (Terence Stamp) who collects a lovely live girl (Samantha Eggar) and locks her in a dungeon.

THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES. The exploits of pioneer airmen and their flaphappy craft warm up a daffy London-Paris air race of 1910, and slapstick nostalgia is provided by Gert Frobe, Alberto Sordi and Terry-Thomas.

LA TIA TULA. In this faultless first film, Spanish Director Miguel Picazo offers an austere and chilling portrait of a still beautiful spinster (Aurora Bautista) whose unyielding virtue quells her passion for her dead sister's husband.

CAT BALLOU. The funniest if not the fastest gun in the West is Lee Marvin, a double-barreled delight in his portrayal of two desperadoes, one determined to help and one to hinder the schemes of a pistol-packing schoolmarm (Jane Fonda).

THE PAWNBROKER. A troubled old Jew measures his memories of Nazi terror against the realities of life in Spanish Harlem. Rod Steiger's performance in the title role adds authority to a grim theme.

BOOKS

Best Reading

THE MAKING OF THE PRESIDENT, 1964, by Theodore H. White. The author's reporting skills are partly wasted on an election notably lacking in excitement or color. But the reader is rewarded with all the hot-line conversations and every last ravel in the G.O.P. sleave of care.

MUSTANGS AND COW HORSES, edited by J. Frank Dobie, Mody C. Boatwright and Harry H. Ransom. Authentic writing about the prairie of the 1840s when huge herds of swift, hardy mustangs had the run of the great plains. Then, in one brutal decade, they were tamed or killed in the frontiersmen's relentless surge to the Rockies.

BOY GRAVELY, by Iris Dornfeld. A novel written by a musician about a slum boy who composes an electronic symphony from the sounds he has heard all his life and finally gets to hear it performed in the Hollywood Bowl. In telling about Boy Gravely, the author delineates the terrible disease and destiny that is genius.

THE MEMOIRS OF PANCHO VILLA, by Martin Luis Guzman. By interweaving official documents, dictated letters and hours of recalled conversations, Guzman, long a confidant of Villa, has assembled the story of his life. There are gaps, but the book is as close to an autobiography of the fiery Mexican leader as is possible with an illiterate man who died 42 years ago.

STORMY PETREL: THE LIFE AND WORK OF MAXIM GORKY, by Dan Levin. A balanced biography of one of the wild men of writing. Gorky's life was a series of violent escapades, recaptured here in part through his own superb reminiscences. His creative forces were often wasted on polemics, first for Lenin and then for Stalin, who lured him back from voluntary exile; five years later, Gorky mysteriously died.

Best Sellers

FICTION

1. The Source, Michener (2 last week)

2. Up the Down Staircase, Kaufman (1)

3. The Ambassador, West (3)

4. Hotel, Hailey (5)

5. Don't Stop the Carnival, Wouk (4)

6. The Green Berets, Moore (6)

7. Night of Camp David, Knebel (8)

8. The Flight of the Falcon, Du Maurier (7)

9. A Pillar of Iron, Caldwell (10)

10. Herzog, Bellow (9)

NONFICTION

1. Markings, Hammarskjoeld (1)

2. The Oxford History of the American People, Morison (2)

3. The Making of the President, 1964, White (8)

4. Is Paris Burning? Collins and Lapierre (3)

5. Journal of a Soul, Pope John XXIII (4)

6. The Founding Father, Whalen (10)

7. The Italians, Barzini (5)

8. Queen Victoria, Longford (7)

9. Sixpence in Her Shoe, McGinley (9)

10. Games People Play, Berne

* All times E.D.T.

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