SUPERMAN COMES  TO TELEVISION   By Michael J. Hayde

Production of television's original "Adventures of Superman" series lasted for six seasons and 104 episodes.  But when you speak to "Superman" aficionados, a vast majority will tell you the only year that matters is 1951, the first season.  In the five decades since those 26 episodes first appeared on the home screen, they've taken on a mythical status and nearly always overshadow the remaining 78 segments (with the possible exception of 1953's Panic in the Sky). "The (1951) episodes are very beloved," says Jack (Jimmy Olsen) Larson; an impression that comes from twenty-five years of books and articles from various "Superman" scholars.  Want a recent example?  Columbia House released 60 "Superman" episodes on home video; one-third are from its debut season.

Despite the attention and accolades, the full story of "Superman's" most cherished year hasn't been told in one place and many questions haven't been completely answered:  "How did it all start?"  "Why didn't Kirk Alyn, the Superman of the serials, play the role?"  "When was George Reeves hired?"  "In what order were the shows filmed?"  "Why did it take a year after production ended for the series to air?"  "Why are there two different versions of certain episodes?"  It's a long, fascinating story that begins in 1951 but doesn't end there.  It is a story of television history coming to life during a sweltering Culver City summer; a summer of discontent for some.  It is a story of six-day work weeks; long, hard hours for too little reward.  It is a story of a producer's creative vision, its revision by a sponsor, and his response.  It is a story that ends with, not the final "Cut!" in 1951, nor the first airing in 1952, but a gunshot in 1959. The Search For Superman:      National Comics didn't take long to decide on bringing their most popular hero to television.  The 1950-51 TV season was barely under way when Robert J. Maxwell, producer of the radio "Adventures of Superman," considered moving the program from a dying medium to an infant one.       National (later DC Comics) had some good reasons for wanting to take this step.  First, two live action serials starring Kirk Alyn had been successful ventures, although 1950's "Atom Man Vs. Superman" would not tally up the quarters as decisively as its 1948 predecessor.  But that was due to a declining Saturday matinee crowd, a decline due to television.      Then there was the Lone Ranger.  He and his faithful Indian companion had a longer history than the superhuman reporter; the Ranger was the cornerstone upon which was built the Mutual radio network, which also carried Superman's adventures.  The fall of 1949 brought 52 half-hour "Lone Ranger" episodes to the home screen.  By 1950, Clayton Moore and Jay Silverheels had ridden the fledging ABC network into the top 15 Nielsons for the first time.  National had to be as aware of this as of the fact that the Kryptonian had clobbered the Kemo Sabe at the serial box office.

Finally, there was radio itself.  By 1950, radio kings like Bob Hope, Jack Benny, Burns and Allen and Groucho Marx had brought their acts to television.  The future of home entertainment was clear.  National took a deep breath, and gave Maxwell the nod.

The first trade magazine blurb appeared on January 12, 1951.  According to the Hollywood Reporter, "Robert Maxwell Associates has hired Betty Sinclair, formerly with Lippert, to produce 13 half-hour segments of 'Superman.'  Filming to begin February 15."  Why Sinclair's involvement with "Superman" ended before it began is lost to history.  Sinclair probably remained at Lippert, a company which Maxwell would be dealing with later.  In any case it was a false alarm, unless the intent was to put word out to the acting community that a new television show was in the works, with a highly visible role for the male lead.      Maxwell began by lining up writing assignments.  Ben Peter Freeman and Dick Hamilton, late of the "Superman" radio series, reworked such scripts as The Mystery of the Stolen Costume, The Million Dollar Mystery and The Riddle of the Chinese Jade into teleplays.  They would be joined by newcomers such as Monroe Manning, Eugene Solow and Peter Dixon.  Maxwell's next move was to ask the home office for the services of Whitney Ellsworth.  As creative decisions go, this one was a no-brainer.  Ellsworth had been Editorial Director of all National titles since 1940, and he was no stranger to Los Angeles, having worked there as a writer of pulp fiction in the late '30's.  Not surprisingly, Ellsworth would prove to be indispensable as story editor, writer and re-writer for Maxwell, who then set out to locate a co-producer to handle budget matters.  He soon selected Bernard Luber.  Formerly an attorney with Paramount Pictures, Luber had recently been a producer at Republic, a studio noted for exciting, inexpensive films.

By early May, pre-production was humming.  On the ninth, the trades announced that Flamingo Films, a firm whose partners were all in their early 20's, had acquired the exclusive rights to distribute the upcoming series for 31 years.  At this stage, plans were to produce 52 episodes.  Apparently what was good enough for the Masked Rider of the Plains was good enough for the Man of Steel.  What National probably didn't know was that the 52 "Lone Ranger" episodes had cost over a million dollars.  With money from over 15 years of licensing (and with no publishing overhead), the "Ranger" producers could afford to give the television project a motion picture's budget.  Maxwell was soon to discover that the comic book company, while determined to retain ownership of their property, could not provide that kind of bankroll.  Within two weeks, National halved the schedule.      There was an added bonus in signing with Flamingo.  The company had acquired TV rights to the entire Eagle-Lion film library, which provided a wealth of free stock footage.  But first things first: Maxwell and Luber needed a studio.  At the time of the Flamingo deal, they were negotiating for space on the Samuel Goldwyn lot.  Those talks went nowhere, so they set up shop at General Service Studios, home of "Lone Ranger" soundstages.  Soon after, the two producers began discussing the need for a director.  Luber suggested hiring a bright guy he'd known at Republic, who was now actively working in television, named Thomas Carr.

Some of the men behind "Superman":  Producer Robert Maxwell (far left) chats with National (DC) Comics Publisher Harry Donenfeld.  Whitney Ellsworth (right) served as Story Editor for the 1951 season, and would later succeed Maxwell and Bernard Luber as Producer.

NEXT PAGE: Hello Tommy Carr, Lee Sholem and George Reeves

"Superman Comes To Television" is ©1997 & 2004 by Michael J. Hayde.  All rights reserved. All photographs used herein appear courtesy of THE CHUCK HARTER COLLECTION and may not be reproduced by any means. DISCLAIMER: SUPERMAN and all related elements are the property of DC Comics, a Time-Warner company. TM & © 2004