WEEKLY CALENDAR

CAMBRIDGE

BRATTLE: Another episode from the New Wave's chronicle of that peculiarly post-war phenomenon, the Aimless Man, "Breathless" stars Jean-Paul Belmondo and Jean Seberg as, respectively, a hip thug and his hapless American moll. The New Yorker found it "brilliant"; the Crimson, merely "worth seeing." Evenings at 5:30, 7:30, 9:30. TR 6-4226

UNIVERSITY: Otto Preminger, having disfigured G. B. Shaw (you must remember his "Saint Joan" of several years back), how has a crack at history itself: and the result is a seldom-recognizable version of the Israeli struggle for independence from British stewardship and Arab hatred, called EXODUS -- after a novel of that name to which it also bears but slight resemblance. The cast is as large as the film is long; stars include Paul Newman, Eve Marie Saint, Ralph Richardson, Peter Lawford, Lee J. Cobb and (inevitably) Sal Mineo. Afternoons and evenings at 1:30 and 8:00.

Starts Wednesday: Another Hollywood re-tread, this one of a delightful Marcel Pagnol novel, Fanny, which became, progressively, a stage play, a fine trilogy of films, a dull Broadway musical, and now all this -- the poorest of the lot. The principals are Leslie Caron, Charles Boyer, Horst Buchholz and (how could it possibly be a decent picture?) Maurice Chevalier. Joshua Logan directed. Afternoons and evenings at 2:25, 5:40 and 9:30. UN 4-4580.

BOSTON

BEACON HILL: Back to the tea-and-sympathy syndrome, Hollywood explores gangling innocence (Scott Marlowe) and enveloping experience (Lola Albright) in A COLD WIND IN AUGUST. Neither particularly educational nor especially entertaining. The theatre refuses to recommend it for children; this column cannot recommend it to anyone. Evenings at 8:05, 9:55. CA 7-6676.

CAPRI: Encore, LA DOLCE VITA. Fredrico Fellini's massive survey of the rotting European cafe society is long, episodic, but pictorially magnificent. Certainly an important film, and one well worth seeing. Evenings at 8:15.

EXETER: PLEIN SOLEIL (Purple Noon), suspense a la Francaise, offers brilliant color shots of Italy and the Adriatic; Alain Delon manipulates capable cast (including the luscious Marie de la Foret) as he attempts "le crime parfait." The dialogue is marred only by a linguistic "embarras de richesse." A fast-paced and well-plotted movie. Evenings at 8:40. K9 6-7067..

GARY: THE GUNS OF NAVARONE. Here, gents, is a war film that has absolutely, yes, absolutely, every gimmick you've ever longed for in a film about G.I.s-plus-Limeys v. them Nazis: U-boat chasing, cliff scaling, partisan risings, grim Yanks, suave Britishers, fanatical Greeks, detestable Germans (one nice German), broads, spies, traitors, explosions -- well, we mean, you name it, this flick has it. It also has Gregory Peck, David Niven, Anthony Quinn plus scores of ex-German general staff members. Evenings at 6:30, 9:15.

KENMORE: A film version of Alberto Moravia's TWO WOMEN, which goes by the same name. A portrayal of the almost incredibly stark life of the Italian peasantry during the Second World War's Italian campaign. Sophia Loren and her film-land daughter (anonymous) leave bomb-strafed Roma only to find privation, and the sex-starved troops of three nations. Climax of the film comes in a deserted hillside church were a platoon of North African irregulars make off with daughter's virtue and mother's dignity. If "The Virgin Spring" dismayed you, stay away from this. Evenings at 8:10, 10:00.

TELEPIX: SHADOWS. This is a short, experimental film made by John Cassavetes. At the end you are informed of what you already suspected -- the movie is unrehearsed. "Spontaneous" is the word Cassavetes used. The film can sufficiently titillate the quasi-intellectual: it's full of inter-racial love, jazz, and long-haired guys. And inter-familial strife. Evenings at 8:45.