(Continual front pane ID
that continues to he a good one, he
continues, "and I think sn/H-nmtn III
is going to he the hest yet We re not
just taking up space with these
movies, cranking out a series like /
litre hay I don't just get up in the
morning and phone it in Everyone
involved keeps refining the concepts
and in each film I think there’s a dts
tinn shift of tone, style and point of
view Part One really emphasized
Americana and all the mythological
overtones of the pop hero Part Two
was more tongue-in-cheek, more
like a comic hook Part Three is
going to he more complex psycho
logical!} We re going to call it
Superman vs Superman Imagine
that Superman comes apart at the
seams that he is somehow trap
ped in a schizoid split and the two
sides of his personality battle each
other It s sort of an id versus super
ego idea, taking the Clark Kent/
Superman notion and magnifying it
intensely. It's going to give me a lot
to do A real challenge and a chance
to break some new' ground."
As sympatico as Reeve seems to lx
with ihe i ll.trader he has brought to
screen and to life, the idea of an
open ended Superman saga leaves
him decidedly non plussed "I've
signeil no contract,’ he remarks I
did Part Three because it seemed
like a good idea I define a good idea
rather narrowly. A good idea for
making a film is not to bank three
million bucks After awhile money
really does lose its meaning. There's
such a thing as being too rich.
Superman was a chance to do some
thing better than people expected,
and I think both films were a hell of
a lot better than what was antici
pated. I thrill at the chance lo exceed
people's expectations, and as long as
that element is present, I II do the
films."
Sandwiched before and after the
releases of Superman 1 and II were a
pair of Reeve vehicles that did as
much to induce yawns from
filmgoers as the tremendously sue
cessful super hero series did to ex
cite thrills Somewhere in lime, a
dismal romance, cast Reeve as a
maudlin time traveler pining for a
turn-of-the-century Jane Seymour A
near complete box office abortion, it
fared only slightly worse than the
thin film version of Ira Levin's talks
Broadway mystery Deathtrap, which
squandered Reeve’s considerable
on-screen charm on a static bad guy
ultimately more dull than dangerous.
As richly deserved as both flicks'
plunge to late night cable fare might
be, Reeve refuses to pronounce the
post mortem I don't praise or put
down any of my past work, he in
sists "Why should I? It doesn’t suit
my purpose simply to provide a
good quote Everything I've done
seemed like a gtxxl idea at the time
and I refuse to be lured into critiqu
irig my work in public. What I will
say is that I’ve played over 90 stage
roles and been in five movies to
date I don't think you can say I've
been tested in film in any significant
way."
Well tested or not, the question
arises, given the public response to
his un Superman film ventures,
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whether Reeve is in peril of immi
nent typecasting, whether he will
eventually discover that the only role
folks will pay to see him in is the
Man from Krypton The assertion
makes him positively bristle.
"That's a question the media keeps
asking because they can't think of
anything else to ask. he responds,
promptly and pointedly. Suddenly
Reeve's sunny nature seems clouded
more than a little hostile, as if the
very suggestion that his nearly
overpowering association with the
character of Superman — evident
even here, sitting around in old
clothes in a badly decorated office —
might prove a professional liability
To assume that type casting is a
danger with any actor is to be totally
out of touch with what's possible to
day." Even the fact that the last actor
to play the Man of Steel — George
Reeves on the popular television
series—committed suicide when the
show's cancellation effectively ended !
his acting career, doesn't seem to
faze Reeve. In fact, lie's getting an
grier. "The Fifties and the Eighties
are just not the same. I’m delighted
that children will think I’m Super
man from now until I’m 90. But chil
dren don’t cast movies. Audiences
are more sophisticated than they
used to be. They want actors first and
stars second The movie industry
understands that. Only the media
lags behind. I mean, Robin Williams
does Popeye and then does The
Work! According to (imp Sylvester
Stallone does Rocky and then
he hesitates, lus voice trailing off.
Whatever the potential for Reeve
to become a one role actor, he’s ab
solutely convinced that his upcoming
lead role in Monsignor will put the
issue to rest — and in the process
muzzle the media hounds — once
and for all "Christopher Reeve,"
trumpets the press handout, stars as
Monsignor, the priest who knows
the streets as well as he knows Ills
God " It's a line only a publicist
could love and one that points up
what may be a particularly sticky
marketing problem lot the Frank
Perry directed film concerning the
life and times of an American priest
rising through the Vatican hierarchy
"This is not a religious movie." in
ststs Reeve as if aware already of |xi
tential problems in accessibility at
fuelled to the subject matter It
could take place on a submarine It's
alxiut a pure man in a corrupt sys
tern, trying to learn how to lx- true lo
himself and still play by the rules It's
about lining religious and lining a
human Iming at the same time and
discovering it's not always possible "
It's also alxiut the mafia, Vatican
political intrigue and a tragic love at
fait between the Monstgiior and an
Italian nun. played by Genevieve
llujold "It’s the Ix'st part I've seen
lot an actor in a long, long time,"
Rnnvn remarks "A lot ol bankable
stars were ready to kill toi the role I
consider myself fortunate to have
gotten the part I studied hard to
learn specifically what it was like to
walk, talk and art like a priest. To
feel comfortable in the vestments, lo
know how to deliver the liturgy
All that I turd work is perhaps why
Reeve feels especially sensitive to
crass media puns, stu b as a recent
Time Magazine photo blurh that be
gan, "Able to preach long sermons in
a single breath look, up in the
sky, it's Superpriest! It’s no wonder
there is precious little love lost be
tween Reeve and the at-large press.
“If someone is rude and vulgar
you can respond in the same way or
you can turn your back and talk to
someone more pleasant. I simply
turn my back. The press has proven
time and again that it doesn’t respect
entertainment figures ... any human
being, no matter how visible, de
serves respect. It’s a high wire act at
the best of times and they're always
there, wishing you’d fall off instead
of hoping you’ll make it to the other
side."
Part of making it to the other side
for Reeve is to rigorously protea his
private life. His tight-lipped precau
lions are understandable — as an
unwed father he considers any intru
sums on his off screen time as poten
tially damaging to his son, Matthew
(The fact that Reeve and the child's
mother, Gay Easton, continue to live
in unwedded bliss, seems to unsettle
a great many people.) “When
Matthew w as born I tried to head off
w hat I knew w as going to come, ” he
sighs "I made the announcement
and hoped that would lx* it I should
have known better. A year later
People Magazine did a cover story
on me, and the reporter spent seven
hours in interviews, waiting until my
guard was down and then springing
some questions about Matthew and ,t
lot of other things he had no bust
ness knowing. What was given out as
off-handed remarks became the
focus of the story. 1 mean, a lot of
people thought it was as cute as the
dickens, but I realized then that if
you give up your private life, you're
left with nothing I’m not going to let
that happen again.”
Matthew, Reeve claims is the most
important thing in my life,” before
.ulding in quick contradiction, "of
course, work comes first I )ust don’t
have a lot of time I took my first va
cation in three years (his year. I
s(xmuI whatever off time I have play
ing with Matthew, practicing my
piano, living gliders, sailing and ski
ing I also run a tw in engine airplane
charter service out in New Jersey
which gives me a lot ol pleasure, but
I guess you could say I’m not suffl
cicntlv mellow to consider chucking
it all and flouting down a river on a
raft with my son I think it s reason
able and lair that a voting man with
just oik* shot to create some kind ol
identity for himself should give his
career lop priority I want to ac
complish something that later on 1
can remember when I’m sitting on
the porch in tin* rocking chair " He
pauses liefore adding, "My life has
got to add up to something more
than |ust txiing a good daddy That’s
easy you don't have to lx* purlieu
latlv gifted to see w hat a child needs
In life Only a dummy could miss the
love and playfulness that you give
and get from a kill There's no rea
son why you can't have txvth My son
understands, when I’m working
everyone has to buck off until 1 get
the Job done, I’m concentrating on
acting and 1 don’t consider myself a
freak for giving it everything I've
got