The Times-Tribune from Scranton, Pennsylvania • 54

It Does No Harm Blanket Gives Child a A Feeling of Security By WAYNE G. BRANDSTADT, M.D. Question: My son, 3V4, has become very unhappy since a baby sitter took away his blanket A new blanket doesnt seem to satisfy him. What would you suggest? A Peanol a cetamid benzoate (Deaner) is one of several drugs that are helpful in the treatment of overactive children. It is not habit-forming.

Possible side effects from too large a dosage include headache, insomnia and an itching skin rash. A Mit loddlars form a deep attachment for some object a doO, a woolly dog or a blanket. It gives them a sense of security and does no harm. If the baby sitter, who shouldnt hare removed the blanket in the first place, didnt horn it, every effort should be made to get it back or one like it that is not new. to My son.

is hyperactive. The doctor is giving him Dexe-drine. How long can he take this drug? Are there any bad side effects? A if the drug is helping your son and the dosage is property controlled, he should be able to take it for a year or more. If, 1 however, he develops insomnia, nausea, diarrhea, profuse sweats, headaches' or any other unusual symptoms, you should report the ract to your doctor at once. My sen, 2, has an awful temper.

He can be playing quietly, then suddenly staat to kick and scream. He has a 6-months-old brother. Could the tantrums be to get special attention or is it an inherited trait? What can be done for these outbursts? A Temper tantrums are not inherited but are sometimes imitative of a parents actions. It Is very likely that this child is making a day for more attention. At such times, you most be loving but firm.

You must make your child feel secure and at the same time let him know that you disapprove of his behavior and that he cant use it to get his own way admittedly not an easy task. (Newspaper Enterprise Assn My swv It. is hyperactive. The school hounded me 'about it until our doctor prescribed Deaner tor him. Is this drag habit-fbrmin Does it cause harmful side effects? i Camera Angles By IRVING DESFOR.

AP Ncwsfaaturas Jerry Lewis as he appears disguised as a German general In starring role in Which Way to the Front? now showing at the Strand Theater. The Movies wmmciHi way tt TTDnni'TsiK Rnr? 99 tion depending on density of original slides and strength of color desired. After exposure, the young lady removed the magenta film, placed it emulsion side up on a piece of glass it would be better in a small tray and poured the special developer carefully around the center. Then, with a wad of cotton, she spread it geni tly around over the film. The color hardens and remains wherever light has reached the emulsion and clears away in the other areas.

Development completed, she washed the film with cold water and blotted it with a paper towel. It dried quickly. When she sandwiched the magenta film with the original transparency, it became a new picture with an odd color effect. By placing the magenta film slightly off-register, she got still another effect, like an architectural rendering. By adding still other colors, which she had done in advance, the original transparency was transformed by colors which were creatively way out.

My grandson started to experiment with his rainbow pack that night. Following the same procedure, he added a yellow sky to a 35mm slide which in its original state was completely blank. It made a great improvement. The process may be used to change washed-out slides or those that are too blue or too green by adding corrective or dramatic colors. The additional Color-Key films are taped or mounted with the original and can be projected or copied for color prints.

The box of films and special developer are available at art supply or printing supply firms. Camera fans wishing to expand their creativity in photography will find this process is limited only by their ingenuity and the time they have to experiment. Would you like to create offbeat modern art from your odor slides though youre not an artist? Would you like to make colorful abstractions from black and white negatives though youre not a painter? These effects ate possible with a special film developed leg the printing industry and now being explored by amateur and professional photographers. Called 3M Color-Key Film, it is used with a special developer in a process that lakes from 10 to 15 minutes and doesn't require a darkroom, just a room with moderate lighting. Recently, with my 17-year-old grandson, as enthusiastic photographer, I watched a demonstration by a young lady who made it seem easy.

She used a 2te-square color transparency, removed from its mount. It could be any size, however, from a 35mm slide to talOincrbes. Next, she removed a Color-d Key film negative acting from a box. It was a Rainbow pack which contains 25 films in an assortment of colors, each lOx? inches, She picked magenta but might have taken red, green, yellow, etc. She cut off a piece slightly larger than the transparency and returned the rest of the film to the box.

Each film is Sensitized but it reacts only to ultraviolet light so it can be handled in normal room light. The magenti film was put on a table, emulsion (dull) side down, away from the overhead light. The transparency was placed on it, also emulsion side down. A clear pane of gliss was placed on them, holding -them flat and together. Two No.

2 photoflood bulbs (source of ultra-violet light), in reflectors, were positioned about 18 inches over the films to provide even illumination. They were turned on for about six minutes. Exposures are a matter of individual experimenta Comedian, producer, director, philanthropist and businessman Jerry Lewis never gives up the rapid, dizzying pace that has become a Lewis trademark. For example, he put as much frenetic energy, dedication and comic imagination into his 40th and most recent motion picture, Warner Bros. Which Way to the Front? now showing at the Strand Theater, as he did on My Friend Irma, his first motion picture made 21 years ago.

A Jerry Lewis picture is by nature a one-man show, and Which Way to the Front? is no exception. Not only doer Lewis star in the war comedy, he produced and directed it as well. In the Technicolor film Lewis organizes his own army, sails off to war on a girl-laden yacht, masquerades as a Nazi general, and attempts to kill Hitler. He is helped by soldiers Jan Murray, John Wood, Steve Franken, Dack Rambo and basebails Willie Davis. Sidney Miller is Hitler.

In addition to Lewis the dynamo, who looks after each detail (he even designed the soldiers uniforms which bear the peace symbol), there is Lewis the owner of incredible amounts of equipment which surrounds everyone on the set First and foremost, the gigantic mobile home which Jerry uses for his dressing room, office and entertainment center, dominates the soundstage. Second, Jerry also insists upon having expensive videotape equipment and a half-dozen monitors on hand so that he and the cast can watch the playback of a scene the moment it is completed. Also nobody ever gets killed in a Jerry Lewis picture not even the enemy. Very likely, the millions of Lewis fans around the world who have seen his pictures are unaware that the Screens brashest and noisiest comedian is also among the screen worlds most quietly thoughtful advocates of non-violence. During the filming of Which Way to the Front, Lewis stopped the action when it appeared that one of the soldier-actors had been killed.

Shoot at them, yes, says Jerry, But kill them, no. In a Lewis film soldiers must be lousy marksmen. His refusal tQ permit the showing of death on the screen stems from a decision, stubbornly made and stubbornly held, that he would never use one of his pictures to glorify killing or even to acknowledge its presence. W. Wallace Kelley, the veteran cameraman of many Lewis films, photographed Which Way to the Front? in Los Angeles and at the Warner Bros, studios in nearby Burbank, Special location sites include Wilmington Harbor, Griffith Park, and the Long Beach Naval Base, which doubles as the Bay of Naples.

John Beckman served as the art director with Ralph Hurst as set director. The associate producer was Joe E. Stabile. Russ Saunders was production manager and Lou Brown composed the musical score..