1.2 + 0 = 1.2 The new morality Is it our problem? Women want little or no curfew restrictions. Students want to drink in their dormitory rooms. The problem of in loco parentis is no longer THE problem, although it is a part of it. The new administrative worry is the new morality. Students across the nation have been clamoring for less and less restrictions. Most do not want to be governed by the same moral rules under which their parents or their older brothers and sisters lived. THE NEW MORAL SCENE has been building up for a long time. Perhaps the biggest argument for fewer restrictions is that those issues which have been restricted by university regulations are being handled by the students in their own way. In most cases the removal of restrictions has served only to legalize already-practiced customs. At KU, the move to the new morality has taken the form of women's rights. Other colleges, including K-State, are thinking of adopting new closing rules patterned after KU's no closing for junior and senior women. Students at the University of Oregon are seeking changes in the drinking rules. Their Student Conduct Committee is debating whether the university should impose sanctions on coops, fraternities, or sororites for possessing or consuming alcoholic beverages in their houses. THE COLORADO DAILY Collegian feels that their administration's threat to discontinue visitation in dormitory open houses is not a question merely of the existence of open houses but an attempt to regulate student morality. Women's living groups at the University of Washington will be allowed to establish their own curfews. Women at the University of Alabama are now legally permitted to visit men's off-campus apartments. And so it goes across the nation. AND WHAT CAN be done about it? It is much too idealistic to suggest that all university restrictions on student social life should be lifted so that each student may make all his own decisions regarding moral questions. So what is the new morality? It is an attitude a demand that students be allowed to make their own decisions regarding any moral question. There is no simple answer. The students of each college and university must discover their individual answer as more restrictions begin to lift in response to the new morality. And lift they will. Morality is becoming more of an individual problem and less of a social or institutional responsibility. Most collegiate administrations are intelligent enough to realize this, and in the years to come will adjust their institutions accordingly. In the meantime, students everywhere will have to wait and hope and crystallize their own attitudes on the question of the new morality. Barbara Phillips THE UNIVERSITY DAILY kansan Serving KU for 77 of its 101 Years KANSAN TELEPHONE NUMBERS Newsroom—UN 4-346 — Business Office—UN 4-3198 The Daily Kansan, student newspaper at The University of Kansas, is represented by National Advertising Service, 18 East 50 St., New York, N.Y. 10022. Mail subscription rates: $5 a semester or $9 a year. Published and second class postage paid at Lawrence, Kan., every afternoon during the University year except Saturdays and Sundays, University holidays and examination periods. Accommodations, goods, services and employment advertised in the University Daily Kansan are offered to all students without regard to color, creed or national origin. The opinions expressed in the editorial column are those of the students whose names are stipulated to them. Direct editorial views are not necessarily the editor's. Any opinions expressed in the Daily Kansan are not necessarily those of The University of Kansas Administration or the State Board of Regents. EXECUTIVE STAFF Managing Editor Joan McCabe Editorial Manager John Grov Editorial Editors Dan Austin, Barb Phillips NEWS AND BUSINESS STAFF KU-Y Membership Meeting, 6:30 at McColum, 7:30 at Oliver. NEWS AND BUSINESS STORIES Assistant Managing Editors Enery Goad, Steve Russell Linda Stevens, Robert Stevens SUA Poetry Hour, 4:30 p.m. Roy Room: Union, Hart, Carr, Music Room: Union. TODAY Official Bulletin Sigma XI Lecture, 7:30 p.m. Dr. Sidney W. Fox, U of Miami "Chemical Basis for Origin of Life." Dyche Aud. Experimental Theatre. 8:29.pm "Oh, What A Lovely War." Murphy. Friday Prayers, 1 p.m. Moslem Society, Kansas Union. TOMORROW Graduate Physics Colloquium, 4:30 p.m. Dr. Michael Moravcsik, Harvard. "Tests of Conservation Laws." 228 Maclott. Thursday, February 16, 1967 Daily Kansan "Grand Prix" is grand cinerama 2 Bu SCOTT NUNLEY One of the high adventures of the 20th century is conducted each year on the grand prix racing circuits of three continents. In "formula one" cars that attain twice the horsepower of the family automobile and three times the speed, a handful of men seek the title of World Champion. From a film of grand prix racing, we ask three questions: what does it feel like to be racing? what sort of men are those racers? and why do they spend a lifetime pursuing circles? "GRAND PRIX" 'S nearest success is attained when Frankenheimer faces his medium of cinerama squarely. At his best, he caresses cinerama, he plays with it, teases it, and exploits from it the possibility of new cinematic effects. His race in The Netherlands is a small triumph. Theatre seats seem to sway and slip sidewards as Jean-Pierre Sarti's red Farrari thunders through the turns at Monaco. The sweep of the cinerama screen imprisons the eye while the explosive stereo-sound-effects drown the ear. The audience doesn't exist, the theatre doesn't exist—there is only you and the car at 180 mph. JOHN FRANKENHEIMER'S cinerama "Grand Prix" tackles our first question with the muscle of 16 cinerama cameras and ten million dollars. Using every visual trick he can produce, Frankenheimer succeeds magnificently. But the answers to our other two questions elude "Grand Prix." The race driver of "A Man and a Woman" was more real than Frankenheimer's four heroes. As though to haunt the film, living world champions such as Graham Hill continually appear in the background or in moments of clubhouse conversation. Who are these men, really? James Garner? But Frankenheimer succeeds at more than tricks. Dedicated to the adventure of racing, he followed the grand prix circuit an entire season, attempting to film the expense, complexities, and sweat of the sport. Here he almost succeeded. Yves Montand is the closest to an answer. His Jean-Pierre Sarti is subtle and usually convincing. Montand raises the Ferrari champion from the stereotype of his role as "weary driver" and creates the off-track highpoints of "Grand Prix." THE FILM SUGGESTS that it is attempting to satis'y us. Hints are scattered freely about: no one knows much about James Garner, do they? who is Sarti's wife? what is really bothering Eva Marie Saint? and, in the final scene, is it all worth it? "Grand Prix" hints, but does not answer. It chooses to emphasize the post-race party instead of the pre-race workout. At points it obviously suffers from an uninspired script of especially creaking dialogue. It is one-third of the "formula one" story. "Grand Prix" exults in that partial success, however. In the perfected technique of Super-Panavision, the film fulfills our first demand as well as could be hoped: this is what grand prix racing feels like. "Grand Prix" is a cinerama experience, and it would be a loss to wait until it came to the smaller screens. FEIFFER HOW CD THERE BE A BETTER LAND 'N THIS HERE LAND, BIG DADDY? I WANT TGO WITH GREA SOCIETY! BUT IT COULD ONLY BE A LIL' BITTY ACCIDENT WITH YEEN LOOKIN' AFTER GREAT SOCIETY THE WAY YEEN ALWEEZ SWORE YWOULD, BIG DADDY.