Nineteen years. The world changed substantially between 1987 and 2006. One thing did not change: The desire to bring Superman back to the Silver Screen. After the disastrous Superman IV, it looked as though the Man of Steel would be on sabbatical. That was fine because 1989 brought a different superhero to the Silver Screen. Batman, starring Jack Nicholson and Michael Keaton, written by Sam Hamm, and directed by Tim Burton, was one of the most anticipated movies of 1989. Don’t think that Superman still wasn’t on people’s minds, though. 1988 saw the worldwide celebration of Superman’s 50th birthday, he appeared on the cover of Time, and the Salkinds returned to him…kinda-sorta. They produced a syndicated television series of Superboy that lasted between 1988 and 1992. But the word on Batman was good. People were looking forward to it and the Warner Bros. marketing machine went into overtime. And when the movie finally opened on June 23rd, 1989, it was a blockbuster. A new era in the comic book movie had dawned and Superman seemed like a relic.
The success of Batman and its 1992 sequel, Batman Returns, as well as the general popularity in comic books that resulted, made the comic book movie seem like a legitimate film genre. Despite Superman appearing on television in a new series in 1993, Lois & Clark: The New Adventures of Superman, which promised at the outset a more grown-up Moonlighting feel but quickly descended into a juvenile adventure show, the idea of bringing Superman back to the Big Screen was very much on the minds of Warner Bros. Jon Peters, the famed former-hair-dresser-turned-Big-Time-Hollywood-Producer and one of the producers of Batman and Batman Returns, wanted to bring Superman to the Silver Screen in a big, big way. And that is how the Superman Lives fiasco came about. The film, written by Kevin Smith, directed by Tim Burton, and starring Nicolas Cage as Clark Kent/Superman seems to be a near-miss for Superman fans. Peters kept at it, though, and so did Warner Bros. I won’t go much more into it but a simple Internet search for Superman movies will bring you a lot of information.
Besides, by the late-1990s, the comic book movie genre had pretty much died. Aside from the Batman movies, no other movie hit its mark. There was a lot of development but little actual production. What movies were made looked horrible, weren’t taken seriously, and died a quick death. Television was a little kinder with the Warner Bros. Animated series of Batman, Superman, and Justice League.
And then in 2000 came X-Men. With a story by Tom DeSanto and Bryan Singer, a screenplay by David Hayter, and direction by Singer, the film adaptation of one of Marvel Comics’s most popular teams hit all the right chords and was a mega-hit. The idea that Bryan Singer would have gotten involved was shocking. He was an up-and-coming indie film director and his film The Usual Suspects was an Oscar darling. What he brought with him was the knowledge that the characters were important, that without strong characters, these films could have as much spectacle as anyone could put in them but it wouldn’t mean a thing.
X-Men rejuvenated the comic book movie genre, but it took Sam Raimi’s adaptation of Spider-Man to really get it going.
I loved these movies, but not being a Marvel kid, I kept waiting for DC’s triumphant return while skipping the 2001-2012 TV series Smallville. With Batman Begins (2005), DC returned to the Silver Screen in a triumphant way. Using the model set up by the Marvel Entertainment movies, Warner Bros. went with Christopher Nolan, who’d gained tons of attention for his indie thriller Memento. So it wasn’t a shock that Warner Bros. would have a new Superman movie for the following year. What was the shock was the director: Bryan Singer. After two successful X-Men films, who would’ve called him jumping ship for Superman?
So in June 2006, I found myself with a friend whom I liked a lot sitting in a local movie theater eagerly awaiting Superman Returns. With a story by Singer, Michael Dougherty, and Dan Harris, and screenplay by Dougherty and Harris (who’d written the screenplay for the great X-Men sequel X2), there was no doubt the movie would be great. Although I’d seen the trailers and wondered about a few things–Marlon Brando’s posthumous return as well as the use of John Williams’s original theme–I was pretty excited.
It was a movie that I was truly looking forward to. Things hadn’t been so great for me starting in 2003 but were beginning to take an upswing. I would be starting a new job at the end of the summer as a teaching assistant. Though I was pretty depressed, I knew that I was on the road to recovery. Things were looking up. And there was a new Superman.
So the lights dimmed, and I was transported away for my first Superman movie viewing on the Big Screen….
The opening title sequence. Though I’d seen all the Christopher Reeve Superman movies, I’d seen none of them in theaters. So to see the opening title sequences for the first two films recreated on the Big Screen gave me chills. John Williams’s music has been a part of my life seemingly forever, so sitting there and seeing a “new” version of the old credits with his music just blew me away and brought tears to my eyes.
The special effects were astounding. Superman’s flying effects were as real as anything done to that point. It wasn’t just the flying effects that were good, either, but all of the effects. A little too good, perhaps. In the sequence when Lois Lane (Kate Bosworth) is covering a space shuttle test on an airplane and the plane ends up plummeting from the sky until Superman (Brandon Routh) saves it, I actually had a panic attack brought on by the uber-realistic effects, both visual and sound. It is a scene that started me wondering if maybe special effects are too good these days.
The story wasn’t bad. It took the material seriously and did its best to give the characters pathos. It honored what came before but went off in a different direction. And it took some bold risks in the adaptation. It’s not perfect, which we’ll get to, but it’s a valiant attempt with some good moments.
Kevin Spacey as Lex Luthor is perfect. He comes across as arrogant enough, and cold enough, to be Lex Luthor. Besides being one of the best actors working today, he embodied what a modern Lex Luthor would be like. And, unlike Gene Hackman, Spacey was willing to shave his head for the role.
The Phantom Zone
This is a tough one. I’d like to talk about the rest of the cast, but I don’t feel like they should be placed under The Kryptonite, so I’m placing them in The Phantom Zone. Brandon Routh as Clark Kent/Superman, Kate Bosworth as Lois Lane, Parker Posey, and James Marsden were all actors I had some issues with, especially upon rewatching this movie. Marsden plays Richard White, Perry White’s (Frank Langella) nephew. Look, I’m not a fan of Marsden. I’m not sure what it is exactly, though I’ve liked him in some stuff I’ve seen him in. He was great as Cyclops in the X-Men movies, but here I didn’t particularly care for him. He plays Lois’s boyfriend–partner? fiancé?–her not-husband and seemingly the father of her child. He has some good moments in this movie, but there’s something about him that just doesn’t sit well with me. Parker Posey is another actor who I think is great but who got on my nerves here as Miss Tesch–er…um…Kitty Kowalski. She’s obviously supposed to be the modern Miss Teschmacher except she’s not…how to put in a Politically Correct way? Aw, to hell with it. She’s not sexy enough. Valerie Perrine, I’m sure, got many a young men started on the road to puberty in 1978. Parker Posey? Not so much. She’s attractive in different ways and I think her talents are under-utilized in this role. She’s not bad, she actually brings a lot of emotion to the part, but she just doesn’t feel right to me.
Which brings me to Kate Bosworth and Brandon Routh. As the two most important characters in the movie, their roles are essential. Both look too young to be in their roles. Considering both look (and, according to Wikipedia, were) in their early-to-mid 20s, it’s hard to believe they were together five years before this story for any substantial amount of time in Metropolis. They’d be better cast as young Superman and young Lois Lane first meeting, but even that wouldn’t be ideal since Lois was already established as an up-and-coming major reporter. Bosworth lacks some of the toughness that Margot Kidder had that made Lois Lane believable. Whether it’s 1948, 1978, or 2006, being a woman reporter is difficult because the news agencies are boys’ clubs. Lois Lane needs to be tough-as-nails while still being soft and, sometimes, vulnerable. Bosworth doesn’t sell me on the tough part. She’s cute, she’s a capable actress, I guess, but I had trouble buying her as Lois Lane. Not only that, but I never sensed any onscreen chemistry with Brandon Routh. The chemistry is essential to the part.
And now I go to Brandon Routh. I want to love him as Superman, and after that first screening at the Flagship Cinemas in New Bedford, Massachusetts, on July 15th, 2006 (I keep my ticket stubs), I did. I thought he was the perfect Superman. But now I’ve seen the movie three, four, maybe five times (I think it’s four) and I’m not so sure. He plays the role fine in the sense that I’m sure he did what he was directed to do or as the script called for him to. He mostly looks the part of Superman and Clark Kent, and even resembles Christopher Reeve when he smiles. But he’s too muted. He’s too serious. He’s too goddamn subdued. And because he looks so young, I had trouble believing him as Superman. His Clark Kent has nearly no personality, and his Superman only a modicum more. As a matter of fact, he hardly speaks as Superman. Again, I think it’s the performance that was asked for, and he delivered. But….
The story. Here’s one of those contradictions I enjoy employing. I mentioned what I liked about it so here’s where it rubs me the wrong way. Is it a new movie that’s paying homage to the original Donner movie(s)? Is it a follow-up to it/those? What is this beast, exactly? It has the John Williams theme, the opening title sequence, pictures of Glenn Ford as Jonathan Kent, Lex Luthor’s obsession with real estate, Lois’s article “I Spent the Night with Superman,” a consummated romance between Superman and Lois, the Kryptonian crystals forming the Fortress of Solitude, and Marlon Brando as Jor-El. It looks as though it’s a follow-up to the Donner film(s). But the fact that it takes place in modern America, with cell phones, flat screen televisions, etc., disputes that. So it seems to be a new movie with a helluva lot of homages. This is cute when you see it in the theater for the first time, but it gets old upon further viewings and once you bring your brain to the party.
The lack of wonder and fun is a problem for me. It tries for wonder, I’ll give it that. The image of New Krypton rising from the Atlantic towards space is something to behold, however, the rest of the movie falls short. In some parts, the movie is just plain boring. Maybe it’s the lack of chemistry between actors. Maybe it’s boring lines. Maybe it’s because the fact that this entire movie feels like the song “Superman (It’s Not Easy)” by Five for Fighting. Don’t get me wrong, I love the song and the ideas behind it, but I don’t want a 2hr 34 minute movie based on it. Yet, that’s exactly what it feels like. Superman spends a lot of time alone and serious. It’s not that I don’t want Superman serious, or alone, but I don’t want him emo, either. Christopher Reeve’s Superman was serious, but not slit-my-wrists-serious. Lex Luthor and his gang have some dark humor, and there’s some humor at the Daily Planet with Jimmy Olsen (Sam Huntington) and Clark, but overall the movie just went on and on and the performances and story in between action set pieces aren’t engaging enough.
Superman’s beating has always bothered me. New Krypton is made with Kryptonian crystals stolen from the Fortress of Solitude combined with Kryptonite. This means that when Superman is standing on it, he becomes powerless (and, in theory, should eventually die). Lex Luthor and his gang use this opportunity to beat the living shit out of Superman, ending with Luthor stabbing him with a shard of Kryptonite, breaking it in Superman. The beating is brutal and probably is what led to the PG-13 rating, because none of the rest of the movie really warrants it. It’s a bit overkill, really, based on everything that’s been set up so far. I know Lex Luthor is a ruthless criminal, and there’s no Otis this time bumbling around, but the beating feels out of place in this particular movie. That’s probably because the movie is so closely related, by its own cleverness, to the 1978-1980 films. Maybe I’m being too judgmental here, but I just don’t think it fits.
I’m not a fan of the new Superman suit. It’s a little too much. I don’t mind the switch away from tights/spandex, but there’s something about the costume that just doesn’t feel like Superman to me. It’s unfair, perhaps, due to the perfection of the Christopher Reeve costume when compared to the comic book version, to be so critical over the suit, but there are things that just bother me. The boots look like something from Nike, which makes me wonder how it fits into Clark Kent’s shoes. For that matter, how does the S on the chest go unnoticed under Clark’s shirt? Also, the dark red and gold aren’t right. I made an allusion to this in my essay on Superman III; Bad Superman’s red and yellow is the same color as Brandon Routh’s Superman’s, only he’s not evil (he’s barely even alive!). The shirt goes up too far, too, or something. I don’t know. I’ve just never been a fan of this costume.
Finally, by biggest issue with Superman Returns is Jason White, played by Tristan Lake Leabu. Jason White is Lois Lane’s son, whom we think belongs to her fiancé Richard, but is actually Superman’s son. This shocker wasn’t all that shocking, which is part of the problem. The moment the audience is introduced to the asthmatic little boy it knows the kid belongs to Superman, even though they look nothing alike. The kid doesn’t look like Lois, either. The thing that made me think that maybe the kid wasn’t Superman’s was the thought that I’m sure every fan had: Oh, wow. The creators of this movie are really adapting this by giving Lois a kid. It must be Superman’s, except, who’d be that stupid? Surely fans will revolt against this. But it is Superman’s son. Which, again, throws the plot into a weird light in regards to the Donner movies. There’s no hint in this movie (other than the boy) that Lois and Superman were ever together, just that they obviously cared for each other. So the question goes back to: Are the filmmakers going back to Superman II with this, and if so, which one? The Lester Cut has Superman giving up his powers before sleeping with Lois, which would mean his sperm wouldn’t have the super powers anymore, right? The Donner Cut has Superman sleep with Lois and then lose his powers. But since most people probably wouldn’t have seen this version, isn’t that a little out there? And if it doesn’t have anything to do with those cuts, or the first Donner Superman, then how come more isn’t made of Lois and Superman’s relationship? Does she realize who Clark is? There are so many damn questions, never mind the science of two different species conceiving a child. If it’s impossible for two species of creatures on Earth to conceive, how can a humanoid creature from another planet conceive with a human woman?
And that’s not even my biggest problem! Because if it were Christopher Reeve and Margot Kidder on the Big Screen, directed by Donner, with a screenplay by Mankiewicz that exhibited the same dedication to the characters that their movies did, I’d be with Superman, Jr. Or if Singer and his writers done a better job with their characters and hired actors I could get behind more, I’d be with Superman, Jr. But that’s not what happened. Their story is good, but never really finds the right balance. Their actors are all right, but I have trouble really buying them as people who’ve gone through these kinds of adventures before. And the worst of the actors is, I hate to say it, Tristan Lake Leabu. Look, I don’t want to beat up on a little kid so I won’t say it’s his talent that’s lacking, I’m sure the kid is a fine actor as he’s worked in movies and television after Superman Returns, but it’s the story and the directing. He becomes a Creepy Kid. As I wrote about Miko Hughes in the otherwise phenomenal Wes Craven’s New Nightmare, Creepy Kids seem to infiltrate many movies. Why does Jason White have to walk around like a zombie? Why must he have no personality? There’s nothing charming about what this kid does in the movie. Again, I don’t think it’s the young actor so much as the way Jason White is written and Bryan Singer’s direction for the boy. When a kid is used to advance the story like this, and really doesn’t do much else to contribute to it, he’s a prop, and the filmmakers should be ashamed. It would’ve been far more interesting having the child behave like a five-year-old child, running around, getting into true mischief, than having this Golden Boy who walks catatonically through the movie to finally throw a piano at someone.
After the Battle
I left the movie theater that summer night happy, and I guess that’s what really matters. Superman had returned (for the time being) and things would be getting back on track for me, too.
If it seems as though I dislike Superman Returns it’s because I get hung up on the details that bother me. I don’t dislike it, nor do I particularly like it. It’s better than Superman IV and, overall, Superman III (though there are parts of Superman III I like better than anything in Superman Returns). I think it was a lost opportunity. On its own, I think there’s some great stuff in this movie, but I think some of the ideas going into it were flawed, as were many storytelling aspects of it. I think Brandon Routh could’ve done better in the role had the script (and direction) had him do so. I think Bosworth does as well as she can but is miscast as Lois Lane. I guess I just expected something better from the people who brought us X-Men and X2.
I still would have seen a sequel to this, though. It does intrigue me on where Singer and company would’ve gone. Alas, it wasn’t meant to be.
After the mixed and bad reviews that Superman III received, as well as the same for Supergirl (1984), Alexander and Ilya Salkind sold the film rights to Superman to Golan-Globus Productions, which were working with Cannon Films. Interested in bringing Superman back to the big screen, they approached Christopher Reeve, who had pretty much sworn off playing Superman again. They made him an offer he couldn’t refuse: If he signed on to reprise his role as the Man of Steel, 1) he could help come up with the story, 2) they would greenlight any project he wanted, 3) if Superman IV were a success, he could direct Superman V. Reeve signed on.
The story came from an actual letter he received from an actual little boy who asked how come Superman didn’t get rid of all the nuclear weapons in existence. For those reading this who were born after 1990, keep in mind that while the shadow of nuclear holocaust still envelops us all, back in the 1980s, with Ronald Reagan as President and Gorbachev in power of the Soviet Union, it felt like there would be nuclear war at any time. I remember being a little boy and aware of this, terrified of it. By 1987, the year I turned 10, I’d been living with the understanding that the kind-looking old man we called President was really a lunatic with a charming smile, and so was the dude with bird doo on his head. So the idea that a little boy would write the actor who was Superman for a generation of youth isn’t surprising. The fact that Reeve wanted this to be the basis of the fourth Superman movie is surprising.
I saw some pretty earth-shattering movies in 1987: A Nightmare on Elm Street 3: Dream Warriors and Beverly Hills Cop II that were personal favorites. I also saw Three Men and a Baby and The Secret of My Success, because I was a big Michael J. Fox fan. Even though I wanted to see it, Superman IV: The Quest for Peace wasn’t in my cards. I had to wait until it came on HBO/Cinemax.
The movie that Reeve got Menahem Golan and Yoram Globus to produce was 1987’s Street Smart, which earned Morgan Freeman an Oscar nomination. As far as Superman V is concerned, well….
It’s 90 minutes long.
All right, all right. I’ll try harder.
The concept isn’t bad. The credit for story belongs to Christopher Reeve, Lawrence Konner, and Mark Rosenthal. Moving into a direction where Superman decides to go against the rule that he should not interfere with humanity on such a grand scale was done in the first movie, but it’s something that’s bound to come up again and again if you’re Superman.
Also, Christopher Reeve is still a real good Superman/Clark Kent. He still plays the part with earnestness and takes the character seriously. That’s important. He even dyed his hair this time around. The scenes of his I like the most are at the beginning when he’s on the Kent farm, just looking around. There’s a scene where he’s brooding on the couch of his apartment when there’s a knock at the door. He looks up, surprised, and grabs his glasses. It’s subtle but it never feels put-on. He’s even good as he’s sick from radiation poisoning (though I find this scene chilling since the makeup isn’t too different from what Reeve looked like as he began to lose his hair after his accident).
The acting is pretty bad by everyone else. Margot Kidder’s role is once again fairly prominent, Marc McClure returns as Jimmy Olsen (though his part is even less existent than in Superman III, where they at least gave him stuff to do other than stand in the background). Jackie Cooper is firing on all cylinders as Perry White in this one, though he seemed to have aged quite a bit in the four years between movies. Finally, Gene Hackman returns as Lex Luthor, which should be a welcome thing considering the watered-down villains of the previous installment. Newcomers include Mariel Hemingway as Lacy Warfield; Sam Wanamaker as her father, David Warfield; Jon Cryer as Lenny Luthor, Lex’s nephew; and Mark Pillow as Nuclear Man. With the exception of Cooper, all the acting falls flat. Kidder should be a welcome return but the dumbing down that began with Lester’s rewrite of Superman II continues here. As I mentioned, Jimmy Olsen is barely involved in this movie. The Warfields are boring, Wanamaker is the typical 1980s tycoon who cares only for money and Hemingway is the typical 1980s-spoiled-rich-girl-who-finds-there’s-more-to-life-than-money (that may be the longest hyphenated title I’ve ever written. May be). You’d think that Gene Hackman’s return would up the ante but he pretty much phones in his performance. There are maybe one or two good moments, but they’re brief moments. The rest of the time he’s hamming it up. Jon Cryer, one of my favorite actors of the 1980s, is horrible as the silly Lenny Luthor. Horrible. Uck. He actually calls Superman “The Dude of Steel.” I know that’s the writers’ fault but the fact that he agreed to say it…. And don’t get me started on the piece of cardboard called Mark Pillow. Maybe it’s because a decision was made that he’d sound like Lex Luthor (which doesn’t make sense), his acting is wooden. Or it could be that he was a terrible actor. His IMDb résumé shows that this was his only film role, and he only acted twice afterward on TV.
I think there’s a good reason for the bad acting: bad script and direction. The screenplay is by Lawrence Konner and Mark Rosenthal (I’ve already mentioned they worked with Reeve on the story) (and now I’ve mentioned it again), and Sidney J. Furie directed. Now, Furie seems to have been around forever and has done some good work, but Superman IV: The Quest for Peace is not among the good. I’ll be talking about the budget for the movie, which was low and seems to be the thing blamed most for the poor reviews and earnings of the movie, soon enough, but I think the small budget is only a fraction of the issue. Sure, you may not be able to have great special effects or shoot on the locations one would like, but that doesn’t excuse sloppy acting, writing, or directing.
I mentioned above that this movie is only 90 minutes long. Superman: The Movie runs at 2 hrs 23 mins (the Extended Edition runs 2 hrs 31 mins), Superman II runs 2 hrs 7 mins (I’ll add the Richard Donner Cut only because you may be interested: 1 hr 54 mins, but keep in mind that this really isn’t a finished film, but rather as finished as it could get nearly 30 years after shooting began), and Superman III runs 2 hrs 5 mins. At 90 minutes, it’s the shortest of the Christopher Reeve series. That was not the intention. The original script went much longer and there was much more footage shot. Word is that Cannon Films cut nearly 45 minutes from the film during the editing phase. Part of it was due to budgetary issues, a lot of it was because it was just bad. There are several places for more information about this, including Mark Rosenthal’s commentary on the DVD and Blu Ray releases of this movie. The Superman Homepage is one such place, as is Caped Wonder. If you’re interested but don’t feel like going to hardcore Superman websites, then Wikipedia will do. No matter, the extra 45 minutes would’ve brought the movie up to 2 hrs 15 mins, the second longest movie of the series. Rest assured, having seen some of the cut material on the Superman Anthology Blu Ray of the movie (if my reading is correct, there’s actually more deleted goodness on a DVD version of the movie), no one is missing anything.
And it goes back to story. As the movie opens, The Daily Planet is being bought by David Warfield, who is planning on turning the Planet into a tabloid and letting his daughter, Lacy, run it. So it pokes fun at the Rupert Murdochs of the world, as well as every other businessman who performed hostile takeovers of companies and destroyed them. As this is happening, arms talks fail and it’s announced that both the United States and the Soviet Union are going to expand their nuclear weapons, which could lead to, well…BOOM! A school somewhere is watching this where two of the worst actors of the movie are. One is a school teacher and the other is the boy, Jeremy, who will write Superman despite the taunts of classmates. He wants to know why Superman doesn’t just collect all the nuclear weapons of the world and destroy them. After some back-and-forth and public humiliation, Superman, Jeremy, and a crowd that includes Lois Lane, Lacy Warfield, Jimmy Olsen (I think), and many others, go to the U.N. (not the real U.N.–not even close) where Superman announces to the world leaders that he will be ridding the world of all nuclear weapons. And, just like it happens in real life, every world leader agrees to let this alien from another planet, who could kill them all with a fart, take the weapons they’ve spent decades and billions of dollars building and accumulating and destroy them. Meanwhile, Lex Luthor breaks out of jail with the help of his nephew, Lenny. Luthor devises a plan to stop Superman by taking some of Superman’s hair from a museum exhibit, grinding it up, using some science, and launching it into the sun on one of the missiles to create…(music)…Nuclear Man! There’s fighting and this and that and Superman wins and gives a speech. The end.
If you skipped over the above paragraph, or skimmed through it once you realized it was the movie’s story, I don’t blame you. But you have to understand that it’s that kind of movie. The kind that you feel compelled to retell in detail because you’re not sure it could be that bad. Watching the movie is painful at times, and it’s the story. It often feels like the screenwriters took pieces from the previous Superman movies and threw them into this one because they knew fans enjoyed them the first time around. One of Superman’s earlier appearances in this movie is when Clark misses the subway but Lois gets on. The driver has a heart attack and Superman has to save the train. He literally stops rescue personnel from getting to the driver to tell the crowd that the train is still one of the safest ways to get around the city. Just like he told Lois in the first movie that flying was, statistically speaking, the safest form of travel right after the helicopter she was in nearly killed her. Speaking of Lois Lane…. Remember that scene I mentioned where Clark is brooding in his apartment until a knock on the door? Well, it’s Lois. They’re going somewhere together and he’s not ready. He takes her by the hand, goes onto his balcony with her, and they walk off the building with her protesting and screaming. He changes to Superman in front of her and she suddenly remembers Superman II. Then, like Superman: The Movie, Lois and Superman fly around. Only this time, he actually lets go and she keeps flying (more on this later). Finally, they return and he feels better. He kisses her and as she stands, out of it, he quickly changes back to Clark Kent and she awakens, having forgotten that Kent and Superman are one and the same. You know, like Superman II. Of course, Lex Luthor is back and there’s a supervillain with many similar powers. There’s a return to the farm in Smallville and the Fortress of Solitude with holograms. It’s all familiar and so bad the second time around. There’s very little original in this movie and when there is, it’s bad.
Take the double date between Lacy Warfield and Clark Kent and Lois Lane and Superman. It’s supposed to happen at Lacy’s apartment where Lois is cooking for them. What happens in this scene is some fun slapstick for a kid, where Kal-El keeps changing between Superman and Clark Kent, doing things to trick the women so they don’t know the two are the one (I wrote that purposefully confusing). I remember particularly enjoying this scene at the age of 10 but now, at 35, I find it pretty mean. Why schedule both “dates” on the same night with women who will be together? Lois needs to interview Superman, and Lacy has the hots for Clark. Okay. So why allow them to happen together? The same night, a few hours apart? All right. But together? No. Only a dick would do that. No logic.
And speaking of logic, because of the cuts made, and the poor budget, there are some ridiculous leaps from logic and science. At the end, Nuclear Man sees a picture of Lacy Warfield and decides he must have her. He goes to the Daily Planet building and lands on the street outside, because that’s what a guy with super powers would do, as opposed to busting through an exterior wall. He wreaks havoc and suddenly Superman re-appears (he was nearly killed after his last fight with Nuclear Man) and shouts, “Leave her alone!” or something like that. Huh? How does he know why Nuclear Man (oh, how it pains me to write that name) is there? Well, it’s in the cut scenes, which actually make things more complicated. Anyway, Nuclear Man finally gets Lacy and flies her into space. Go back, reread that sentence. I’ll wait. Good? Good. Yeah, Nuclear Man takes Lacy Warfield into space sans spacesuit. You know, he takes her into the freezing vacuum of space unprotected. And Superman is okay with this. He saves her, but… Ugh. Need I go on? I know it seems trivial to be upset about her not having a spacesuit since, by all rights, even Superman should, technically, have one. I’m willing to buy that Superman (and his kind) can survive in space without a suit, fine, but not a human. Not no way, not no how. And there’s the science of Lois’s flying alone. It happens for a few seconds in the film (the deleted scene had her flying alone for far longer) but is ridiculous and goes against what happens in the first movie when Lois’s hand slips from Superman’s and she begins plummeting. And there are more instances, I’m sure, but time is running out and I still have more bases to cover.
The budget was miniscule. As I mentioned before, the budget is the thing that seems to get the most blame for the quality of the movie. That’s horsepucky. Yeah, the effects suck, but they were already on the decline in Superman III. Now they’re even worse. Apparently, Cannon Films had many movies in development that, for a small company, ended up hurting all the films. They simply didn’t have the funds to make the movie they’d intended. Consider the costs of making the prior three movies:
- Superman: The Movie – $55 million
- Superman II – $54 million
- Superman III – $39 million
When you take into consideration that the first films were begun simultaneously and one of the reasons that the Salkinds fired Richard Donner was that he went over schedule and over budget, it should come as no surprise that the third film’s budget is lower. Most likely, that’s probably closer to the budget wanted for each of the first two movies. Now, according to the Wikipedia article on the Superman series (and they give the source as Empire), the original budget for Superman IV: The Quest for Peace was $35 million. That was cut, though, due to all the other films Cannon was trying to do. The final tally for the budget of the fourth film of one of the most popular franchises of the 1980s was…(drumroll)…$17 million. We’re talking low-rent Superman in a time before rampant digital effects. Still, that doesn’t excuse poor writing, poor directing, or poor acting. Hell, let’s throw the editor under the bus, too. Poor editing. The reason the budget was probably cut wasn’t only because of all the other movies Cannon was trying to make at the time, but probably because the Powers That Be saw the script, saw some of the crap that was coming in from dailies (like the first Nuclear Man. Yes, there were originally two. The first one is like Bizarro and is destroyed the first time he fights Superman), and said, “Hells no!”
After the Battle
Look, I could keep going. I’m at nearly 2,800 words at this point, though, and you want to go back to your life. Needless to say, this movie is bad. The only charm this movie has to offer is that it’s so 1980s. When I did a similar essay on A Nightmare on Elm Street 2: Freddy’s Revenge, another movie I hate that comes from a much-loved franchise, I mentioned one of the only redeeming factors of the movie is its 1980s charm. The same can nearly be said about this movie. The shoulder pads, Nuclear Man’s hair, the corporate greed thing as well as the nuclear arms thing–these all give the movie some charm, but it’s taken 26 years.
As a 10-year-old when I watched it on HBO/Cinemax, I was shocked by how bad it was. Yeah, some of it entertained me, but most of it was bad. My opinion on it hasn’t changed in that regard, and has only become more venomous. I never understand how people who get the ability to take the reins on such a good franchise would hurt it so much. I know that wasn’t anyone’s intention, but it still angers me. Maybe it’s that inner-9-year-old who still dreams of being a filmmaker, but when things go so wrong like this, it gives me pause and makes me angry. Give me the keys to the goddamn car and let me drive! Alas, that will not be.
Due to the failure of this film, the Superman franchise died. There was always talk of the possibility that maybe, possibly, someone would come along and rejuvenate the franchise. That Christopher Reeve would don the blue spandex and red cape and fly once again. But you and I know that would not happen. You and I know that it wasn’t Kryptonite that would kill this Superman. It was almost 20 years before Superman would fly across the Silver Screen again, and my, how things changed in that time.
One Last Word
If you’ve been reading these essays since the beginning, then you surely noticed that I mentioned Christopher Reeve’s performance in each of his movies. I struggled about whether or not I should do so. After all, death tends to sweeten such a performance. The thing is, that’s not the case here. Reeve was a great actor who never really got the credit he deserved in his screen career. His comic timing was great, his energy always came through, and he was classically trained and able to do drama. His way of speaking his lines and his acting was unique. I sometimes think about what would have happened had he not fallen off that goddamn horse in 1995. I like to think he would’ve had a career upswing sometime in the 1990s, one that would’ve brought him along to us today. It looks as though his career was already on an upswing when the accident happened.
The thing about Christopher Reeve as Superman was that he was always approachable, and I think that’s because Reeve himself embodied much of that same spirit. Kirk Alyn’s Superman was eager to fight bad guys and be Superman. George Reeves was the wise uncle. Sure, he’d fight the bad guys, but he always had good advice. Christopher Reeve’s Superman was earnest, honest, and had true beliefs and morals, and was flawed. He was our brother, our friend. One of the successes of Superman IV, that I purposely waited until now to mention, is its politics. In that way, it’s a brave movie. Greed, war, fear are all bad and government-sanctioned in some capacity, but Superman is able to still see the good in everyone and uses his kindness to sway others. He acts as a role model, not out of a sense of being better than us but by trying to be us. Reeve surely brought a lot of that into the role.
As a child, Christopher Reeve was a hero. Not because he was Christopher Reeve, but because he was Superman. As an adult, Christopher Reeve was a hero. Not because he was Superman, but because he was Christopher Reeve.
In 2000, I went in for an appendectomy and woke up with much more done to me. My appendix had been fine when they removed it and further exploration led the surgeon to discover that my intestine had ruptured due to undiagnosed Crohn’s Disease. This led to a temporary colostomy bag. What was supposed to be “three, four months,” became a year-and-a-half. During that time, whenever I’d fart in public because I couldn’t stop it, whenever I’d have an issue with a colostomy bag leaking, whenever I felt bad for myself because of my situation, I’d tell myself, If Christopher Reeve–Superman–can find a way to stay positive and keep fighting, then I can get through this.
Reeve’s accident happened days after I signed out of high school.
I learned of his death in an apartment I lived in a few months after my separation from my first wife. I think I cried. I don’t remember. I remember, though, the feeling that this man had lived. He’d done good for others. He was…well…Superman.
One last, brief, thing. The story of Superman IV can work. In 1998, DC Comics published an oversized graphic novel called Superman: Peace on Earth. It was written by Paul Dini and painted by Alex Ross. In it, Superman decides to rid the world of nuclear weapons. However, instead of all the nations of the world cheering him, many are offended and threaten war. It’s a beautifully written and illustrated book that I highly recommend.
I don’t remember when I first heard/read about the fiasco between Richard Donner and the producers of the Superman movies. It may have been in issues of Entertainment Weekly or Starlog or even online. Either way, I was in my teens or early twenties. Maybe my mother read or heard it somewhere and informed me. Either way, there was a Eureka! moment for me, when it made sense that the feel of Superman II is different than Superman: The Movie and Lois Lane is hardly in Superman III. I know that the documentaries that came on the 2000 release of the Superman movies on DVD, along with the special extended edition of the first movie, went into it a little. And like Superman fans around the world, I wondered what could have been. By the time I really knew about Donner’s firing, Christopher Reeve was already paralyzed from the neck down and the idea that there was, apparently, a load of unused footage of him in his most famous acting role was heartbreaking. If only Warner Bros. or the Salkinds would release the footage. If only someone would go by Donner’s notes and try to piece together what was filmed for his version of Superman II (surely Donner, who’d moved onto The Goonies, the Lethal Weapon series, and other successful films, wouldn’t want to come back) it would be such a great thing to honor Reeve, the late-Marlon Brando, and the hard work put in by everyone involved in those movies.
In 2004, Christopher Reeve died. It wasn’t a surprise. Still, it broke my heart.
I don’t remember when I first heard/read about the release of Superman II: The Richard Donner Cut, but I was excited. As a matter of fact, it was one of the first DVDs I got from Netflix when I joined.
Due to demands made by fans worldwide (and I wouldn’t be surprised if Bryan Singer’s Superman Returns being on its way toward theaters at the time was a big influence) Warner Bros., who now owned the sole film rights for all the Superman movies, went to Richard Donner and asked if he wanted to do a special edition. He agreed, bringing his friend and collaborator Tom Mankiewicz back into the fray. Using remastered footage from the original shoot of both Superman and Superman II, along with some Richard Lester footage, two screen tests, and even a few brand new shots, Donner told the second chapter of the Superman story as it was originally written. Or at least as close as he could manage under the circumstances.
The DVD came during a particularly dark period for me. I was living with my parents again, not long after the divorce from my first wife. I was depressed. This movie made me very happy, while it also hurt a great deal.
It’s essentially the same story as the theatrical Superman II. General Zod, Ursa, and Non are freed from the Phantom Zone and come to Earth. Superman and Lois Lane consummate their relationship and he gives up his powers for her. He gets his ass kicked and finds out about Zod, goes back to get his powers back, fights Zod and crew in Metropolis, and finally leads them back to the Fortress of Solitude where he defeats them. Lex Luthor even escapes jail the same way, finds out info about Superman the same way, and sits in the background the same way. By the end, Lois has forgotten that Clark Kent and Superman are one and the same and everything is status quo again.
Yet, it’s very different.
I intend to keep this one short. I don’t wish to get as carried away by this movie as I did with the original version. Let’s see what happens….
Should I even waste the space mentioning Christopher Reeve as Superman? I think I do. I think his performance is even more impressive in The Donner Cut than in Lester’s version. While a lot of Donner’s footage was used in Lester’s movie, a lot wasn’t. Most of the Daily Planet scenes in Superman II were rewritten and reshot, which led to the continuity errors mentioned in the last essay. That said, the idea that Reeve, Kidder, and the rest would shoot a scene in Perry White’s office for Superman, then go change, come back, and shoot a scene for Superman II where there seems to be a higher comfort level for Clark and the rest is pretty amazing. Reeve brings a certain intensity and seriousness to the role that seems even more on display with Donner behind the camera than with Lester. Maybe it’s comfort. I don’t know, but while he’s great in the 1980 Superman II, he positively shines in the 2006 Donner Cut. The scene when he returns to the Fortress of Solitude after getting his ass kicked is so much more powerful in this version, with Reeve playing it not only as desperate but terrified, because–
Brando returns. By the time Warner Bros. approached Donner to do his cut, Brando was dead and his family had given consent to use footage of him as Jor-El. This meant that the story of Jor-El and Kal-El continued to its logical, and heartbreaking, conclusion. I don’t want to give anything away in case you’ve skipped this version of Superman II, but suffice it to say that the scene is great. To know that greed triumphed over this scene back in the original is a sin.
The movie is less silly. Even the scenes that needed to be kept that Richard Lester shot have been re-edited to excise superfluous silliness. If you’re from Krypton, you’re taken seriously. If you work for the Daily Planet, you’re taken seriously. The humor in this movie comes from the same place as the first film: Lex Luthor and company, as well as the simple things that come out of life, best personified by Clark Kent. The rednecks, the silly army stunts, Non’s silliness, Lois Lane’s screechy stupidity, and the people of Metropolis’s odd comments and sight-gags are all gone. That’s not to say that everything is dead serious. Lois and Clark still have witty banter, Otis still almost brings the balloon down, and other funny moments pepper the film, but they’re from character, not set-ups.
The story makes more sense because the continuity is kept in better check. From first-to-second movie, to the scenes within this movie itself, it just flows better. Let’s look at an example.
In Richard Lester’s Superman II (1980), Superman takes Lois Lane to the Fortress of Solitude. They have dinner, falling deeper in love as they do. Finally, he decides he wants to be with her, so he calls on Lara (Susannah York) and is given a speech. A chamber comes up and he steps inside. Red light shines and there’s a pretty cool special effects shot of the breakdown of Superman. The audience sort of goes into Superman and watches him become (gasp!) normal. In a strange turn of events, Superman’s costume and hair fade to street clothes and simpler hair, and he leaves the chamber as Clark Kent. Then he and Lois sleep together.
As a kid, I wondered: How the heck did his clothes change? Why did his hair suddenly change? It made no sense.
Now, Donner’s cut (2006): Superman still takes Lois to the Fortress of Solitude. They still have dinner, falling deeper in love as they do. Finally, he decides he wants to be with her, so…they sleep together. Now, let’s ignore the science of interplanetary coitus for a moment, and how someone who is called the Man of Steel might accidentally kill his lover when he…well…you know. It’s a beautiful scene, done the same way as in the theatrical version. Now, though, he awakens and leaves Lois in the shiny silver bed. We next see him dressed in a white shirt and dark pants. He is talking to Jor-El, the same basic conversation he has with Lara. And this time, not only is Lois watching, but she’s watching him wearing Superman’s shirt! It’s a subtle touch, but so effective. Even more effective, the holographic head of Jor-El looking at Lois in an accusatory way as Kal-El becomes Clark Kent. Again, the drama in the situation is heightened and makes more sense. When Clark Kent steps out of the chamber, sans special effects of him coming apart on the inside, he is wearing the street clothes he went in wearing. His hair is the same. He’s just…different. Another superb moment by Christopher Reeve.
The biggest problem with this movie is, of course, that it isn’t really the sequel to Superman. Because it wasn’t finally put together until nearly 30 years after it should’ve been, it looks like a rough cut of the movie in some places. I got the sense that this is a good outline, in some cases, of the way the final film would’ve looked. That it was mostly the best thing they could come up with based on what they had. Which is exactly what it is. The joy of watching this movie isn’t getting Richard Donner’s definitive vision, but rather as close to it as we’ll ever get, which is pretty damn close. In that way, this movie works wonderfully.
The ending. I could’ve this in the 1980 Superman II essay but chose not to because I was already very long. The deaths of Zod, Ursa, and Non. Superman tricks them out of their powers and then beats the hell out of them. Well, out of Zod and Non. Lois takes care of Ursa. They fall into the nothingness of the Fortress of Solitude and, we presume, their deaths. In the Donner Cut, the same thing happens. They up it, though, by showing only Superman and Lois Lane leaving the Fortress. They lands miles away and Superman turns around and uses his heat vision to destroy the place. Unlike Lester’s Superman II, Lex Luthor is not shown leaving with Superman and Lois, so one must assume that he’s still in the Fortress. A cut scene in the Special Features section of the Blu Ray shows the three Kryptonian villains and Luthor being taken away by the U.S. Arctic Patrol, presumably to jail. I’d understand why this was cut. If the Fortress of Solitude was supposed to be a secret, how would they get there? Of course, it also helps understand why Superman would destroy his little piece of Krypton. In the theatrical version of the movie, Superman leaves with Lois and Luthor and the Fortress of Solitude remains.
The ending, part 2. As I mentioned in the my essay on Superman: The Movie, the scene of Superman changing Earth’s spin, and thereby changing time, was supposed to end Superman II. In The Richard Donner Cut, the movie begins with what Donner wanted for the original ending of the first movie (and a much better scene of the Phantom Zone Prisoners’ escape) and ends with the Earth-spin-time-changing sequence. I feel like this is even more confusing than it was in the first movie. Did this whole second movie not happen? Isn’t that akin to saying it was all a dream? I don’t know. I really just don’t like this ending, either way. If this is only to make Lois forget about their romance, it’s kind of douchey. Speaking of which–
The ending, part 3. This is the ending of both versions of Superman II, shot by Donner. Superman saves the world and goes back to the diner where he got his ass kicked in the few days he went without power. There’s Mr. Wonderful himself, the truck driver who kicked his sorry ass. And, being the hero we all aspire to be, Clark Kent/Superman shows just how human he has become by humiliating and, essentially, kicking the bully’s ass. Now, I’m torn on this part. As a kid who was bullied, and who has some great stories about me getting my ass kicked, I still cheer that Superman/Clark Kent teaches the bully a lesson. Still, it is unbecoming for a hero who should be teaching by example. In essence, by teaching that lesson, he sorta kinda becomes the bully himself. Do you disagree?
After the Battle
Superman II: The Richard Donner Cut is a beautifully executed case of What Might Have Been. This is not the movie that Donner would’ve released, but is as close as we’ll ever get, and it’s fine. It is a labor of love and the love seeps through. It’s also a fascinating thing to watch for those wanting to be filmmakers. To compare and contrast the two versions of Superman II shows how you can get two very good movies with the same basic story, but how the minor details can make or break aspects of it. Which do I prefer? I don’t know. Both have things I love, both have things I’m not fond of. Either way, it’s worth seeing whether you’ve seen the original Superman II a million times or only once.
Based on the success of Alexander Salkind’s, Ilya Salkind’s, and Pierre Spangler’s The Three Musketeers (1973) and The Four Musketeers (1974) being shot together as though they were one movie, when the rights to Superman were bought in 1974, the decision was made that they’d make two movies together. So their original screenwriter, Mario Puzo, wrote one massive script that was eventually rewritten by Robert Benton, David Newman, and Leslie Newman into two screenplays. When Richard Donner was hired to direct the films, he brought in his friend Tom Mankiewicz to overhaul the screenplays, though his credit on the film was as creative consultant. In April 1977, filming commenced on both Superman: The Movie and Superman II. However, due to the production of both films going over schedule and overbudget, as well as clashes between the producers and Donner, the production of Superman II was halted to focus on finishing and releasing the first film.
Because it was known that a sequel would be made, Superman: The Movie introduced its sequel’s villains in its opening scenes. Brando is putting General Zod (Terence Stamp), Ursa (Sarah Douglas), and Non (Jack O’Halloran) on trial for treason against Krypton. The council votes them guilty, with Jor-El’s vote the deciding factor. Zod announces that because Jor-El’s was the vote that sealed their fate, that he and his heirs will pay and kneel before him. The three criminals are placed in a flying piece of glass which holds them in the Phantom Zone. It’s one of the more jaw-dropping moments of the first film, with a giant dome opening on the crystal planet and a ray of light shooting up into the night sky and space. Superman II opens on Krypton with the three criminals going bad, getting caught, and being put to trial…without Jor-El.
It is the first change an audience member would have noticed sitting in their movie theater back in 1981. They may or may not have heard why Brando was suddenly not in the scene, I wouldn’t know, I was only three years old and knew of Superman II only through trading cards. Of course, with the huge success of Superman, one would think that the producers would have happily returned to shooting Superman II with all the original cast and crew, but that’s not what happened.
Of course, the story is legendary and if you’re here reading this, you probably know it. Still, in case you don’t know the story….
Because of the clashes between Donner and the Salkinds (I’m hoarding Spengler with them), even though Superman: The Movie was a huge success, Donner was not asked back to finish the sequel, effectively being fired. The Salkinds went with their friend, director of their Musketeer movies, Richard Lester. In order for Lester to get sole credit as director (so the story goes), he would need to shoot more than was actually left of shooting on Superman II when Donner and company left off. So more rewrites were done and in 1979, shooting (and in some cases, reshooting) began on Superman II.
I eventually saw it on HBO or Cinemax when I was about five or six. I knew about it, though, and I knew of the horrible happenings in the story: Superman and Lois Lane “get married” (that’s how it was explained to me). I was horrified. The two things the main heroes–my main heroes–could not do, under any circumstances, were: 1) Fall in love/get married, or 2) cry. When I get to the Star Wars Saga (if I get to the Star Wars Saga) you’ll hear more about that rule. Kissing was all right, but actual falling in love and marriage? Absolutely not. Still, I liked the rest of the movie at that age, even more than the first movie, which had slow moments. But I’m not a kid anymore (despite writing ad nauseum about kid’s fair), so, let’s take a look at Superman II.
Superman returns! It’s the common complaint of these kinds of movies and it started with this series: The first movie may be great but it’s always a build-up until the superhero we’ve paid money to see finally makes it onscreen. Nearly an hour goes by in Superman: The Movie before we finally see Superman, and it’s another 15 minutes or so before he saves Lois Lane in the helicopter scene, his coming out party. In Superman II, he pops up in the first 20 minutes, probably even sooner. Lois is at the Eiffel Tower trying to get a story on a terrorist situation and is in trouble and Superman shows up to rescue her (and set up the rest of the movie). Because a lot of the movie was shot at the same time as the first movie, and because Reeve’s embodiment of Kal-El is so pitch-perfect, it doesn’t feel like anything’s changed. I daresay, he’s the most consistent part of this movie. Or at least one of them. He has some of the real anguish that was only hinted at in the first movie when it comes to having to choose between maintaining his dual identity or becoming human for love. When Clark Kent, sans super powers, gets his ass kicked, the look of fear and shock on Reeve’s face is perfect. Looking at his own blood for the first time is terrifying. His helplessness and anguish as the realization dawns on him that no matter how much he may want to be human, he can never be so, is simply short of amazing. The whole performance, whether it’s Donner-directed or Lester-directed, is pretty much perfect.
The Phantom Zone criminals. Zod, Ursa, and Non bring some actual danger to Superman’s world. No matter how great Lex Luthor is in this incarnation, without the green rock, he’s essentially powerless over Superman in any physical way. Sure, using Lois Lane and the Daily Planet folks can get to him, but physically, he’s no match. General Zod and company is a match…a match to be taken very seriously. They are roles that could have been too big, too much, except that casting Terence Stamp as Zod was the right choice. He is cool, calm, and venomous. He says more with a look than just about anyone else in these movies. I suspect that Sarah Douglas took her cue from Stamp and played Ursa under Zod’s spell. Non is a little too silly at times, but when is up to evil, a formidable villain that is quite dangerous. Their costumes are cool, too, though a little strange.
The battle scenes at the end are every little boy’s dream fight. Or at least it was in 1980. Earlier that year, little boys got to see Luke Skywalker finally duel with Darth Vader…and lose. Six months later, Superman took on three equally-powered villains. Before CGI effects dominated the cinema with huge, grandiose battles (that often last far too long), children of the 1970s (1980 was barely the ’80s) got to see a battle like that without any CG effects. Christopher Reeve, Terence Stamp, Sarah Douglas, and Jack O’Halloran were actually on the streets of New York beating each other up using wires, camera tricks, models, and ingenuity. And the kicker? They weren’t even in New York! Instead, a set that looked like New York-as-Metropolis was built in (I believe) a studio in London. Re-watching it in the age of CGI, where just last year I saw The Avengers fight space bad guys in New York, doesn’t hurt the fight. The emotional resonance between Superman and Zod is still there.
The adult theme of the romance is another super thing about this movie. They really don’t sugarcoat it but never get graphic. Superman is giving in to his human feelings and being selfish and we root for him (while the little boys surely do not–they know what Superman should do!). We understand because we would do (and have done) the same goddamn thing for love. And this is where Superman: The Movie and Superman II succeed. “This is no fantasy” is still in the back of the mind. The beautiful sequence where Superman and Lois Lane fly together and begin to really fall in love is brought to a head here. They have an official date and then Superman chooses to give up his powers despite the hologram of Lara (Susannah York) warning him not to. It was a decision that troubled me–maybe even offended me–when I was between four and six but that I understand 30 years later. Like its predecessor, it brought Superman to the big screen not just for the kiddies, like the previous incarnations of Superman did, but also for their parents. Unlike the Kirk Alyn Superman serials (Alyn and Noel Niell appear as young Lois Lane’s parents on the train in Smallville in the first film) and the George Reeves movie, the Christopher Reeve Superman movies came out when the cost of a ticket got you movie trailers, the feature, and that was it. No cartoons, no newsreels, not endless viewings just by staying in the theater all day. This was the post-JFK assassination, post-Vietnam, post-Watergate, post-Star Wars world and the parents needed something to hold onto, too. And this aspect of the story delivers.
Marlon Brando, now known for his arrogance and laziness as much as for his talent, wanted more money–a load more money–to appear in Superman II and the Salkinds, now known for the stupid arrogance, decided not to pay. Suddenly, Jor-El was no longer convicting Zod, Ursa, and Non. Suddenly, the holograms were of Lara that Kal-El spoke to. Jor-El hardly gets mentioned until the end. It’s a shame because it’s jarring for the viewer to go from the story of the father and the son to suddenly go to the mother and the son. It’s even more jarring when a famous, perfect scene loses its key player. Jor-El placing the final guilty verdict is the reason for Zod’s rage, and in the sequel it’s excised. Foolish.
Gene Hackman as Lex Luthor is under-utilized. He’s nearly as sinister as in the first movie, especially in the way that he tries to use Superman’s friends against him and to win favor with General Zod, but he almost gets lost in the shuffle. And his escape is ridiculous. Ned Beatty is once again the oafish Otis who is roommates in prison with Luthor. There’s a plan where they fool prison guards by placing a hologram of the two of them playing chess in their cell (apparently, in whatever state Metropolis is in, they allow convicted friends to share a cell). They then attempt an escape by hot air balloon, piloted by Miss Teschmacher (Valerie Perrine). Luthor gets on but Otis begins to bring the balloon down as he tries to climb the ladder. Luthor eventually throws the ladder over and Otis stays in jail. The scene is ridiculous and one I’d like to blame on Lester’s touch (which I’ll get to very shortly) but can’t. All of the Hackman scenes are said to be shot by Donner. While bringing Luthor back definitely helps bridge films, he spends most of his time making wiseass remarks and watching the Phantom Zone prisoners be evil. Maybe he’s there to bring some lightness to Zod’s seriousness. Maybe the intention was to utilize the knowledge Luthor gains when he finds the Fortress of Solitude in a future film (the end credits begin with a notice that Superman III will be coming soon). Either way, Hackman’s talents are wasted as the comic relief to Zod and gang.
Continuity is an issue with this movie. It’s pretty apparent that Superman and Superman II are supposed to be one long story, or two chapters of a long story. However, because of the issues between the Salkinds and Donner, because of the money issues with Brando, because of Richard Lester’s insistence on rewriting the story to suit his direction (which was probably needed if he were to take sole credit, according to the Director’s Guild), continuity between the two chapters is very loose. It begins right away, on Krypton, where we see Zod, Ursa, and Non murdering a guard to a red crystal to suddenly be jailed in the rings. The Kryptonian Council heads float above them on the dark dome and go through who they are, and then find them guilty. I mentioned this scene two paragraphs ago. For fans of the first movie (which I’d assume would’ve been everyone in the theater seeing the sequel), it rewrites history and lessens Zod’s motives.
Another thing that bothers me is: What happened to Miss Teschmacher? True, we’re not sure what happened to her in the first movie, but she shows up to help Lex Luthor escape from prison. She goes with him to the Fortress of Solitude. She sees the holograms of a man teaching poetry and of Lara telling Kal-El about General Zod and his friends, but then…? She’s never seen or mentioned again.
Another continuity thing is the Daily Planet offices. Their basic set-up is the same, only now Lois has an office. It was pretty blatant in the first movie that she didn’t have an office, but had her desk with several other reporters, including Clark Kent. Now, suddenly, she has an office. It could be argued that she received one because she’s such a good reporter in between movies, but the way the office looks it makes one believe she has been in it a while. Of course, there’s no mention about how much time passed between the chapters of this story, but we know two years passed between the release of Superman and Superman II, so perhaps shortly after the events of the first movie, Lois Lane received an office. Still…
Richard Lester’s decision to bring more camp into the movie, and to give Superman, Zod, and the other Kryptonians ridiculous powers hurts an otherwise really good movie. Now, this is the 35-year-old talking. At five, six, or seven I thought these powers were great, but I didn’t realize that they were very much not powers Superman had. The first movie took his powers fairly seriously. With the exception of his turning the world, and time, backward, every power Superman displays is in the comic books. Superman II gives the evil Kryptonians the ability to make people levitate. Superman has the ability to broadcast himself throughout the Fortress of Solitude at the end, making some versions of himself holograms, others statues, all to throw the villains off. Don’t forget the S he takes from his chest and hurls at the villains. The S grows and becomes, essentially, cellophane and wraps around Non. The camp of the first film remained mostly with Lex Luthor and his goons, but in this one, it’s all over. From the silly doorman at Niagra Falls, to Lois’s attempt to out Clark as Superman with the falls (albeit, Christopher Reeve and Margot Kidder are great in the scene, even if it is silly), to some of the people of Metropolis, Lester’s world is sillier. A little too much so. Again, I don’t want to be one of those fanboys who believes that everything in these kinds of movies must remain serious, it’s just that compared to the first movie, the tone is a little off.
After the Battle
Despite such a long list in the Kryptonite section, I actually enjoy Superman II quite a bit. After I found out the story behind the story, the firing of Richard Donner and everything else, I wondered what Richard Donner’s version would have been like, but that doesn’t hurt this movie that much. The cast still turns in strong performances, there’s still plenty of action, and it feels like a satisfying conclusion to the story begun in Superman: The Movie. As a child, I really enjoyed this movie and loved how the two movies went together. As an adult, I’m impressed by the work that went into both movies at a time when movies like these were huge gambles.
Superman and Superman II set the template for the superhero (or comic book) movie. It’s been used again and again, but hardly ever as well. Spider-Man, Batman Begins, and Iron Man are the closest to the feeling of the pure joy of discovery that Superman: The Movie provides. Spider-Man and Spider-Man 2, and Batman Begins and The Dark Knight the left-right punch of that Superman and Superman II delivers.
I feel like Superman II has gotten a bad rap because of the controversy behind the Salkind-Donner feud. When you get right down to it, it’s a pretty good movie. In some ways, it’s less than in its predecessor, in others, it’s better.
June 1978 marked the 40th anniversary of Superman’s debut in Action Comics #1. By now, Superman was more of a joke than anything else. Considered a square Boy Scout in tights, he chugged along in his comic books, trying hard to still be relevant. He was still on TV, though not in a live action series. After George Reeves’s death in 1959, live action Superman just didn’t happen. There’d been a Broadway show, which had been televised as a special, and a few small attempts in kiddie-fair specials, but mostly Superman had been relegated to cartoons on the small screen. He had his own cartoon from 1966 (the year another DC Comics megastar returned in live action) to 1970, and was a star in Super Friends, beginning in 1973, but live action? No. The late-1960s belonged to Batman, with Adam West bringing the Caped Crusader to the small screen, as well as the big screen for one movie. That show never even made it to the 1970s. Between the high camp of Batman and the general sour disposition of the Vietnam War, not to mention the civil unrest that was going on in the United States at the time, who cared about Superman?
Well, Ilya Salkind, that’s who. The young movie producer convinced his father, Alexander Salkind, and Pierre Spengler to purchase the film rights for Superman in 1974. At that point, the task was to make the movie. I’m not going to get into the rest of the story. It’s readily available (and, honestly, fascinating) throughout the Internet as well as a myriad of documentaries for various versions of the movie. Suffice it to say that five months after the 40th anniversary, on December 10th, Superman: The Movie premiered.
I was aware of this movie before I saw it through Superman II trading cards. Because I was almost a year-and-a-half when the movie came out, I wasn’t aware of it, nor did I see it. It wasn’t until the movie debuted on TV that I saw it the first time. I feel like it was a yearly Movie the Week until home video killed that tradition. I feel like it ran for three hours on TV. I feel like George Reeves stopped being Superman for me at the moment of watching t this wonder-to-the-eye of special effects and…well, wonder, and the man my mother told me was Christopher Reeve, who was also not really flying, but was hanging by wires, and lying on tables, became Superman.
Like Star Wars the year before it, Superman: The Movie may have failed if had come out sooner. It may have failed had the producers gotten a Big Name Star to fill in the blue spandex. But it didn’t. Oh, boy, it didn’t.
The cast is superb. You know this, I know this, I should just stop. But I won’t. Brando is convincing as Jor-El, member of the Kryptonian Council as well as major scientist. Susannah York as his wife Lara isn’t in much of the movie but her pathos is undeniable. She does not want to give up her only child, no matter the consequences, but does so anyway. Jackie Cooper and Marc McClure as Perry White and Jimmy Olsen also shine. And while she’s a little goofy at times, Margot Kidder as Lois Lane is spot-on. It’s really a surprise her career didn’t take off after this movie. Gene Hackman is an interesting, diabolical, and sometimes chilling Lex Luthor. The inferiority complex that Luthor must have in shown with his choice of sidekicks, the bumbling oaf Otis, played by the always-great Ned Beatty, and the sultry, sexy Miss Teschmacher, played by Valerie Perrine. Her outfits and very presence would be enough to send many boys into puberty, even in this movie. And don’t forget Glenn Ford or Phyllis Thaxter as Jonathan and Martha Kent. Ford’s death scene chilled me as a little boy (and, truth be told, does so now, too). All these actors are great in their parts, chewing up the scenery and getting the viewer to believe in the world of Krypton, Smallville, and Metropolis. But the center of the movie, the spoke on which this wheel turns, is–
Christopher Reeve as Clark Kent and Superman. I went back on forth about giving Reeve a paragraph to himself instead of lumping him in with the rest of the cast–after all, Kirk Alyn and George Reeves were both placed with their casts–but I had to. The choice of the unknown, too-skinny classically-trained actor to embody the Man of Steel in the flesh was a bold one. When Christopher Reeve was cast as Superman/Clark Kent, George Reeves was still planted firmly in everyone’s mind as Superman, even though he’d died when Reeve was only six years old. Reeve portrayed Clark Kent as a classic screwball klutz, think Cary Grant in Bringing Up Baby. Yet, Kent never really feels like a farce. There’s a real-world simplicity and charm to him that sells him. Reeve had said that one of keys to playing Clark Kent in the way he chose was to make sure he didn’t walk into every door, but to make sure Clark got through the door with aplomb nearly as often. If anyone has ever been able to sell that Clark Kent and Superman were two different people, it was Reeve. As far as Superman is concerned, Reeve gave him an earnestness that was almost dorky, but never made it seem like he was better than anyone. Reeve’s Superman wanted to be human, and it could be read on his face. But this Superman wasn’t simply the do-gooder as presented in previous incarnations, and he was nobody’s wise uncle. He was the older brother you trust, but he also had an edge. Take the following exchange: Lois is interviewing Superman on her balcony and says, “Clark said you were just a figment of somebody’s imagination…like Peter Pan.” After some back-and-forth on who Clark is, Superman replies, “Peter Pan flew with children, Lois. In a fairy tale.” Who knew that Superman had game? The implication, of course, was that they weren’t children. This was no fairy tale. The line would be a hard sell but it works, and I give credit to Reeve.
Still, someone had to write that line, and the writers were Mario Puzo, David Newman, Leslie Newman, and Robert Benton. And after Richard Donner came onto the film as director, Tom Mankiewicz did a tune-up to the script, though his credit is “creative consultant.” The story and script are great. Because the producers wanted to film Superman and Superman II together, the original story was quite large. With Richard Donner on as director, the feeling that this was a fantasy for children went away. The director of the horror classic The Omen might be doing Superman, and he knew it would be seen by children, but his intelligence and that of the writers was not to make a kid’s movie. They took Superman fairly seriously. After a great black-and-white prelude that features a little boy speaking and opening an issue of Action Comics, as well as a Daily Planet building with rotating globe, after the opening credits with John Williams’s wonderful music, the first line of the film is Marlon Brando as Jor-El saying, “This is no fantasy.” Brilliant. We’re reminded of this throughout the movie. This is no fantasy, no fairy tale. Superman is made plausible and, in some ways, is the most realistic character in the entire movie.
And while I’m talking about Richard Donner, his direction is great. The actors inhabit the roles entirely and seem at ease. Technically, the movie looks great and has Donner’s touches as an activist as well as a storyteller. One rather adult moment that I caught (that may only be in the extended version) happens in the scene when Lois Lane meets Clark Kent. Lois’s desk in outside Perry White’s office amongst six other desks, three facing one way, three facing the opposite so the occupants can look at each other over their typewriters. Lois shows Clark where his desk is, which is across and kitty-corner to her own. In typical Clark Kent fashion, he needs to squeeze behind her in the tightly packed, busy newspaper office, just as she bends over. He brushes against her and she shoots up, eyes wide, shock on her face. Clark mumbles something, pushes his glasses up, and quickly gets to his desk. Her look at him is over in an instant, but it’s a priceless scene that proves that he is the Man of Steel…everywhere.
John Williams once again creates a classic theme. As he did with Star Wars, he created a symphonic story that matches the beauty of some of the scenes, as well as the heroism of the character. The music is as important to this story as anything else in the film.
Superman flies! The tagline on many of the posters and advertising of this movie was, “You’ll believe a man can fly.” And for the first time in live action, that was a promise nearly kept. Using masterful wirework as well as technology developed for Star Wars, Superman really appears to fly, which not only serves the story in general, but gives us one of the classic scenes of cinema: Superman and Lois Lane flying. It is a scene that is beautiful and filled with wonder. Sure, 1978’s special effects don’t hold a candle (or an iPhone) to what is capable now, but its beauty isn’t in its realism but in what goes down in the scene. Two people are falling in love though they know they can never really be together. For the first time, Clark Kent actually has found someone he can be comfortable with, and Lois Lane has found something that’s more important than her career. It’s a scene that should be silly, hokey, but works.
Otis is a bit too dumb. Don’t get me wrong, I love Ned Beatty and his role as Otis, but it’s a bit of a stretch that Lex Luthor would keep around such an idiot. I like the idea that he would have those he deemed lesser than him as henchmen but Otis seems borderline retarded. Even Miss Teschmacher is a little too dumb for Lex, though she has much more realism than the bumbling oaf. Now, I hope I’m not coming across as one of those fanboys who feel that every superhero/science fiction/space fantasy/nerdmovie should be serious with no comic relief, but I think it’s a little much. The joy of this movie is the decision to move away from the 1966 Batman‘s camp but Otis almost belongs there. As a result, so does Lex Luthor. That said, I’m writing this from the perspective of a 35-year-old. The 5-year-old thought Otis was great, so I guess that really settles this minor gripe.
The ending. The idea of having the movie end with Superman changing the rotation of Earth and thereby changing the course of time brings the movie straight into fantasy, which is great considering the first line of the movie. That said, I leaves too much open. When the world went back and saved Lois, did everyone get saved? Did the missiles not hit anything? Because it seemed that Superman didn’t bring time back far enough to erase their launch. And if he did, and there was no launch, when Superman picks Lex Luthor and Otis up, do they even know why, or are they befuddled because they never launched their plan? And if they launched the missiles, then wouldn’t they strike anyway? Or did Superman in essence make a copy of himself that took care of the East Coast missile and then is erased when time catches up again with post-Earth spinning Superman? Because if that’s the case, then maybe he disposed of the West Coast missile offscreen and understood the other one would vanish and become him.
You see what I mean? Time travel is not for the faint of heart! Only aliens in blue police boxes and teenagers in Deloreans should attempt it! It feels like a cop-out. Originally, this was to be the ending of Superman II. The ending for this film would have Superman getting the missiles in time and sending them into space, where they’d explode and meet up with the Phantom Zone inmates, General Zod, Ursa, and Non, and free them. The final shot of Superman was supposed to be the three evil Kryptonians flying toward Earth, which is why they’re at the beginning of this movie. Richard Donner was convinced by others that his original ending was too small and to put the Earth spin at the end of the first film.
And speaking of offscreen, we never actually see Superman get Lex Luthor or Otis. He is overjoyed to see he saved Lois (who is upset that her car ran out of gas and that he couldn’t be her taxi service or something), then flies away. Suddenly, Luthor and Otis are carried into the penitentiary’s courtyard. What about Miss Teschmacher? Well, if you happen to own the 2000 extended cut of Superman, you get the answer about Luthor, Otis, and Miss Teschmacher…in the bonus features. In the nearly 10 minutes of restored footage to the actual movie, that was kept out. I received the Superman Anthology Blu-ray set for Christmas last year so saw this feature, though it may be on the 2000 DVD (I’d need to check but am way too lazy).
After the Battle
Superman: The Movie is a masterpiece. It’s one of the first adaptations of a comic book character that took the whole thing seriously. It was a movie not just for the kids but also for the grown-up kids who’d been fans at all in the forty years Superman had been around at that point. When the movie came out in 1978, it was big. Suddenly, Superman was cool again. It had intelligently set up the second movie in its first few scenes. It couldn’t be long before Donner and the rest would provide Superman II. With the way this movie turned out, what could possibly go wrong?