A trippy back-to-back
movie marathon for a long-time superhero geek: The new, troubled, cold dark
blue “Man of Steel,” followed by the pop-art all-is-good bright “Superman: The
Movie” from 1978. (The latter the first film I ever saw in a theater.)
These
films seen together should make some pop culture thesis about how far down the
path of darkness America has gone, or realized it traveled long ago but could
never quite admit. After all, damn it, Superman is America. (If you need back story, you are lost.)
Both films are
origin stories of Superman, the only hero whose true identity is his super hero
self, and his alter ego costume the normal guy next door, Clark Kent. He always
is Superman. The older version is straight chronological order, the second splits about a quarter way through, rocketing, so to speak, from baby landing to adult Clark at work.
Richard Donner’s 1978 film is soaked in American nostalgia, even
for a bygone era with Norman Rockwell vistas of farmland and cityscapes right
out of comic books and the imaginations of children. Christopher Reeve is
Superman as an adult, a Boy Scout with no doubt of his inner goodness and he
dives in against bad guy Lex Luther (Gene Hackman) with no second of
hesitation.
This is the film for children of all ages. I was 4 when I saw it
and was, for lack of a better term, in love. I wore a Superman shirt until it
fell apart. Odd now, because I see the flaws now over the nostalgia. When the
hell ever was the bit with the black pimp, “That is one bay-ad outfit!’, funny?
It smacks of racism, to be fully blunt. I didn’t see that from my
pre-kindergarten mind.
I digress, though, for I still love the intent of this
movie. More so than the results. The boy flipping through the comic book at the
film’s start, post curtain, says it all. Even if I laugh more now at goofball,
neutered Luther, who –- with Hackman on pure ham -– is a kitten compared to Zod.
Oh, Zod. The anti-Superman from Krypton. Oh, sure he pops up in “Superman,” briefly
in the form of Terrence Stamp, but he’s near the whole show in “Steel.”
And
forget that clunky insider-nerd title. This is “Superman Begins.” And from
producer Christopher Nolan, no less. Except the studio could not use such an
on-the-nose title. Not after Batman, 2005.
Donner went Rockwell. Here, director
Zack Snyder (“Watchman”) under Nolan goes full Terrence Malick, with an eye
that calls out beauty shots such as swaying clothes in the breeze and farm
fields, but he is is not afraid to show what lays underneath. It’s Superman by
way of “Badlands.” It’s an insane move, really, and on my first move, I had no
idea what to think. Nor my second. Months later, I’m still crazy lost and I’m
not afraid to admit unsure.
But I like that, I like that Superman can be
created as a symbol of uncertainty and conflict. Do you beat back the bully, or
try and save him? What’s it like it to be a child with x-ray vision and
crazy-good hearing? Yes, Snyder and his writers take all those little boy
Superman fantasies I had and turn them on their head. Do you really want those powers? Or would you go mad?
As much as
“Superman” of 1978 was a celebration of American greatness with comedy thrown
in (Larry Hangman!), “Steel” is dead serious about an America with great powers
that must ask just because we can intervene, should we? A scene has Superman
ask that of a priest, of intervention and sacrifice on the part of Christ. Henry
Cavil of “Immortals” is our hero, and purposefully not fully formed or the good
guy that Reeve exemplifies. That will come later. (Let’s forget about that 2006
version, OK?)
The endings of these films are full theses in their own right: In
the 1978 version, Luther slams California with nuclear missiles, killing Lois
Lane (Margot Kidder, still the best in the role) by earthquake. Reeve as
Superman is too late to save her and goes mad and -– can I say it’s unrealistic
and not be slapped? -– flies into outer space, and spins backward against the
Earth’s rotation, turning back time.
Yes, turning back time. I cheered when I was 4. Now I think, were there drugs on set?
In “Steel,” Zod
(Michael Shannon, seething and peeing on all the carpets) lays waste to
Metropolis, Smallville, the Pacific, and untold other places, killing untold thousands of people as he attempts to reset Earth as Krypton. (Um, long story, better not to ask.) Lois
doesn’t die, but Superman near goes mad here trying to save the world,
committing an act that sent shock waves through Superman fans everywhere. I gasped
my first time.
But what a bold crazy move it is, and I won’t say. (Huge leeway:
Did he not do it also in “Superman II,” twice?) As a whole “Steel” may not all
work, just as “Superman” does not all fit together, but Snyder and Nolan are
staking claim to a new legend.
I pause just short of calling it ballsy, or
brilliant. If I can cringe at anything in “Steel,” it’s that this film is not
for any child of 4 or 10, and that is who Superman is for. Not adults. For children.
My father took me to see the ’78 version. Big memory.
Had I a child now, I
would have taken him to see “Steel.” That cold dark blue may be too dark,
certainly too violent with crashing cities. Is that our modern America, though?
Superman: B+, on nostalgia. Man of Steel: B, dependent on a third viewing.
