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have a part in doing exactly that. It is perhaps a commentary on our souped-up way of life that something dedicated to the kids of our time can be turned out on an assembly-line basis with little or no “heart” deliber¬ ately injected into the proceedings. An A. A. Milne could sit down at his leisure, turn his thoughts to the happy-faced little tykes of his era, and then lovingly pen his stories about Christopher Robin and Sir Ed¬ ward Bear and Roo. Superman, with a five-films-in-two-weeks shooting schedule staring it in the face, has no time for such airs. The button is pushed, the script is ground out, the cameras turn and another Superman film is finished. Youngsters Most Important The indefinable “heart” of the show springs from Reeves himself and from Whit Ellsworth, the producer. Con¬ trary to some opinion, Hollywood is not entirely populated by i>ompous oafs and dollar-mad sharpshooters. Reeves and Ellsworth, while not at all averse to turning a profit from the venture, are genuinely concerned with the influence Superman has on a generation of youngsters to whom Tom Swift is an old-fashioned fuddy- duddy who cotildn’t do anything more sensational than make a motorcycle or a flying ship or a submarine—sheer child’s play in these hectic times. Reeves and Ellsworth are chiefly concerned at the moment with the tendency of more than one youngster to take up solo flying as an avocation. If Superman can do it without wings or other visible means of support, so can they — with disastrous results. Thus the Superman crew is now rushing to completion a film short in which Reeves, as Superman, explains that only he has the power to fly and that no one else must ever try it. Actually, of course. Reeves’ flying stunts are simplicty itself to anyone even vaguely familiar with the thea¬ ter — which automatically must in¬ clude anyone who ever saw Maude Adams or Betty Bronson fly cumber- somely about the premises in their stage presentations of Peter Pan. Hol¬ lywood has improved on the original with the use of trick photography, produced almost entirely in the lab¬ oratory — and Reeves’ dramatic en¬ trance into a scene more often than not is accomplished by the simple ex¬ pedient of having him stand on a five-foot ladder just out of camera range and leap easily into the pro¬ ceedings. The power of suggestion makes the illusion quite complete, particularly to the youngsters. Reeves Isn’t Weapon>proof Reeves’ toughest problem, oddly enough, is that of making personal appearances. Because Superman is supposed to be impervious to such things as bullets, knives and other weapons, he is a natural proving ground for the younger inquiring mind. Also naturally. Reeves wants no part of such field tests and has had Superman checks with Head Cameraman Hal Stine, left, and Director George Blair