![]() ![]() I think Sam Raimi’s Spider-Man films, Patty Jenkins’ Wonder Woman, and Jon Favreau’s Iron Man owe much to Donner’s classic. Watching Superman all these years later, I’m shocked by how influential its story was to other films in the genre. Plenty of things go “boom,” but Donner never loses sight of our hero’s journey and ends the picture on a thrilling (though contrived) note by having Superman undo Lex’s destruction by turning back time: Superman is as much a character drama as a disaster epic. The visuals may not hold up to modern-day standards, but in the late 70s, this looked incredible. Mainly, this serves as an excuse for Superman to perform heroic acts across the country and for Donner’s special FX team to show off their incredible skill. Said plot involves Lex’s plan to sink California into the ocean so that previously worthless real estate will become valuable. When he finally takes off, Donner allows him to stretch his wings, so to speak, and he embarks on a handful of super feats and romances Lois before the main plot kicks into gear-that’s how they used to do it in the days before the 3-second attention span, kids. By then, we know the characters and understand Superman’s plight. It takes over an hour for the boy in blue to show up and save Lois in the aforementioned helicopter sequence. I point all this out to demonstrate Donner’s incredible patience in crafting the story. ![]() Kidder is a tad overzealous as Lois, but her chemistry with Reeve eventually wins you over. Reeve does a great job making Clark equally pathetic and likable. The picture adds a dose of comedy by focusing on grown-up Clark’s dealings in the big city. We then transition to Metropolis and meet Lois, Jimmy Olsen (Marc McClure), Perry White (Jackie Cooper), Luthor, Otis (Ned Beatty), and Miss Teschmacher (Valerie Perrine). We’re then thrust to Smallville with legendary actor Glenn Ford as Pa Kent, who imparts important words of wisdom to Clark (Jeff East, his voice dubbed by Reeve) before dying of a heart attack-a powerful beat that tugs at the heartstrings (and tops Man of Steel’s silly tornado scene).ĭonner wisely keeps Superman under wraps for the first hour, teasing us with hints of his superpowers but focusing more on his spiritual journey from boy to man. ![]() Right out of the gate, he introduces Marlon Brando’s Jor-El and coats Krypton’s tragic destruction with ample layers of melodrama. ![]() Luckily, Donner knows when to cut the jokes and play it straight. Sure, Superman: The Movie is campy, occasionally goofy-particularly in its depiction of Lex Luthor (Gene Hackman)-and suffers from a 70s aesthetic that felt dated by the mid-80s, but it’s also magical, fun, and brimming with optimism. Where Snyder finds a unique way to reinvent the Superman mythos, Donner clings to his comic book origins, albeit via an epic scope punctuated by John Williams’ thunderous score. Man of Steel is leagues darker, emphasizing the violence and destruction caused by Superman and his fellow Kryptonians. He induces fear but eventually inspires hope. His presence changes their perception of religion, science, and space. In Man of Steel, Zack Snyder took a different (and novel) approach by examining the world’s reaction to Superman. He inspires others like Lois Lane (Margot Kidder) to do better, but mostly, they view him as an extension of law enforcement, who happens to fly. He’s an alien from the planet Krypton who arrives to do good. People naturally want to learn more about this giant blue man-How does he fly? Does he eat? Where is he from? Donner and writers Mario Puzo, David and Leslie Newman, and Robert Benton aren’t interested in exploring Superman’s psyche. His presence doesn’t induce panic or fear, only curiosity. I also love how the world accepts Superman without questioning his resolve. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |