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- The planet Krypton is doomed. Only one man, Jor-El, knows it, and rockets his infant son to refuge on a distant world called Earth. As Jor-El's son grows to manhood, he learns he possesses super-powers he must hide from the ordinary mortals around him. And so, he disguishes himself as Clark Kent, mild-mannered reporter.
- This movie begins on Krypton, where Superman's father sends him off to Earth as a young child. He grows up to be a perfectly normal newspaper reporter named Clark Kent. At least, he appears perfectly normal, until he transforms into Superman - flying around with his underpants over his tights, saving the day. When the evil Lex Luthor plans to take over the world, Superman is the only one who can stop him.
- No other actor could have captured the innocence yet "steely' strength as Clark Kent/Superman as well as Christopher Reeve did, so sincere was his performance that it carries you through this sprawling adaptation of the comic book character.<br/><br/>Film tells the origin of how baby Superman was sent away from his dying world, only to arrive on Earth, where he became its eventual protector from evildoers like Lex Luthor, wonderfully played by Gene Hackman, and supported by the amusing Ned Beatty as his bumbling sidekick Otis. Margot Kidder as Lois Lane and Jackie Cooper as Daily Planet editor Perry White round out the good cast.<br/><br/>Only drawback is that Luthor's plan is just a bit goofy, and the use of time-reversal at the end silly, but otherwise, this film soars because of the late Mr. Reeve.
- Richard Donner's Superman is the closest thing I've seen to a big-budget, superhero art film in terms of aesthetics and storytelling (we're speaking of a stereotypical art film, of course). There is a big emphasis on scenery and location, long-stretches of the film are void of dialog, and several scenes are left to the audience to decide how to feel, rather than giving them a perfunctory emotion to explore. Now if there's anything I want to see it's a superhero film shot for less than $500,000 to open the next Sundance or South by Southwest Film Festival.<br/><br/>But I digress. With the enormous commonality of superhero films in present-day 2013, no doubt has Donner's original classic been left in the dust. It's so easy and justifiable to view it as a corny piece of cinema, but one must respect its roots and its participation in the foundation of an incredible genre. There's something I never thought I'd call that particular body of cinema. And in its own right, Superman is an incredible movie. There's something sincere about being able to call a film made up almost entirely of effects "incredible." We begin by seeing Superman's biological father Jor-El on Krypton, a dying planet that is bound for uncertain turmoil. Desperate and worried about his infant son's potential being unfit for the planet, he sends him down to Earth in a pod that crash lands in an open field. The baby is discovered by an older couple that raise him under the name "Clark Kent." Clark would be a normal tyke if he wasn't so damn powerful, with his speed and super-strength.<br/><br/>He grows up into an all American boy, drop-dead attractive and sophisticated, and works for the Daily Planet, a successful newspaper in the big city. He meets and grows fond of journalist Lois Lane, and tries to protect her in the face of crime and danger and Lex Luthor. Luthor is trying to destroy a large part of the west coast to greatly inflate the value of the desert real estate his company owns. Kent, who evolves into Superman, must become bold, brave, and smart enough to stop him in time.<br/><br/>The special effects here are enthralling. The large-scale approach the film uses, even when the film isn't looking for a riveting spectacle sequence, is pleasant and rewarding in terms of payoff. Early on, the film relies heavily on scenes of the countryside, showing Clark Kent's adolescent roots. Shots capturing the indescribable, rural beauty of American farmland are terrifically and memorably captured.<br/><br/>When the film ventures into the big-budget, groundbreaker it was meant to be from the get-go, it remains enticing for the most part. Occasionally, the film gets to be a bit slow and sometimes feels like it is trying to drag out its material to opus length (IE: the opening sequence on Krypton could've been cut in half). The film, also, has trouble trying to find a consistent tone, often running amok in the possibilities and situations it could throw its protagonist into. It's nice to see variety, but the cohesion isn't as strong as the content would suggest.<br/><br/>Furthermore, it wasn't until the end of the film did I realize that the film robs Superman of a strong identity. This could very well be one of the perks of the neo-superhero genre. The character of Clark Kent is pretty empty and unremarkable when not in his shiny suit, and there is almost no emotional depth to him whatsoever.<br/><br/>The film features a laundry-list of solid performances, most notably, Christopher Reeve's as a strong, rock-solid protagonist. Reeve pulls off Superman's charm with the intelligence and design his character needs to thrive and function. Supporting performances by Gene Hackman as Lex Luthor and Margot Kidder as Lois Lane are enjoyable, and Marlon Brando's brief stint as Superman's biological father is utilized efficiently.<br/><br/>Fortunately, the film zips along with zealous energy and its action sequences are favorable and generate priceless excitement. If anything, it takes even the most modern viewer back to the time when motion pictures seemed more wholesome and primitive. The time when everything had a discernible cheeriness and not all content had to be dark, heavy, and subversive to the point of alienation. Superman is enjoyable when seen through that and various other perspectives, and if you approach with the mind of whimsy and joyfulness, then there's almost no excuse why you shouldn't enjoy it.<br/><br/>Starring: Christopher Reeve, Margot Kidder, Gene Hackman, Marlon Brando. Directed by: Richard Donner.
- The film burdens itself with too many story lines and an overlong (though beautifully photographed) prologue, but things really get moving when Reeve takes the screen.
- The movie Superman (1978) located the fictional U.S. town where the baby Kal-El was found and raised by Jonathan and Martha Kent in the state of Kansas. This tradition has carried through into subsequent Superman comic-book stories, animation, and television series. Earlier comics however placed Smallville in the north-eastern United States, somewhere near the eastern seaboard. Also, some comics-related sources in the 1970s and '80s placed Smallville in the state of Maryland. In the TV series Smallville, Smallville has been established as being located in the state of Kansas and also close enough to Metropolis that on clear days, one can view it in the distance. Metropolis is a fictional port city located somewhere on the eastern seaboard of the U.S. Where exactly varies depending on the source. The four superman movies made in 1978, 1980, 1983, and 1987 staring Christopher Reeve, do not specify its location, but based on the existence of various real-life landmarks such as the Statue of Liberty, it must be a stand-in for New York City. In the DC Universe, it is considered to be in New York State (which also is said to be geographically larger than its real-life counterpart). Some sources had previously placed Metropolis on the shore of Delaware Bay in the state of Delaware, across from Gotham City (from the Batman universe). However, this has been superseded by more recent continuity. In the latest Superman movie, Superman Returns, when Lex Luthor unveils his plan on a series of maps, Metropolis can be seen located on a Northeastern U.S. map exactly where New York City would be. (Also, on a side note, Long Island is not present at all.) In the TV series Smallville, Metropolis must be located either in Kansas, or close by in a neighboring state, as the show has established that (1) Smallville is in Kansas and that (2) Metropolis can be seen from town on clear days in the distance. At this point in Clark Kent's life, he has not yet fully developed, super-power wise. He has varying degrees of some of his powers, while others not at all, including the ability to fly. That is why he runs super fast home, instead of simply flying. The effect was achieved by dangling the actor just above the ground with wires, and having a fast moving rig pull him across the intended path. In some shots, it was clearly blue-screened though. Once he turned back time, he then had the time to stop Lex Luthor's guided missles, and in effect, prevented the earthquakes, etc. The controversy surrounding the time-reversal theme of the movie has been a discussion point since the film came out. Most viewers see it as a cheat, others see it as a ridiculous way for Superman to save Lois. Either way, Richard Donner has commented very little on his choice to include it. We have to assume that, although he turned back time to a point before the dam really breaking through (as is clearly seen being reversed), he did not take it back further than that, to before the explosion (crucially, we do not see that being reversed). Presumably, he is only prepared to defy Jor-El's warnings to a certain extent, otherwise why not reverse the whole thing and save all those killed in the nuclear blast and quake, messing seriously with "Earth history"? So, he simply had a little bit more time, which he used to save Jimmy a bit earlier (it is clear that he still did so and deposited him on the road, because Jimmy says so when he arrives at the car at the end) and also to deal with the damaged dam, perhaps not needing to stop the deluge because this time he has enough time to repair the damage before it bursts completely. He also somehow prevents the crack that reaches Lois' car, though she has still experienced the quake/aftershocks and the exploding gas station (she says as much). And of course, Luthor's huge crime has still taken place and so he must go to jail and for trial. She asks him about this during their interview: "Is it true that you can see through anything?" He then states specifically that he can see through anything but lead (when she steps out from behind the lead plant box she has on her terrace, he says "pink", giving an answer to her question about what color underwear she'd had on). Lois is primed with a lot of questions, though we are not privy as to how she knows to ask this one. Also, the printed article Lex Luthor et al. read the next day, "I spent the night with Superman", contains details about him that we do not see Lois and Superman discussing. So, we must simply assume that various rumors and facts had leaked out prior to the interview, during Superman's first few appearances, somehow (we do see him talking to Jor-El about his having been "showing off" and now being "revealed to the world") and a lot more putting the record straight must have taken place off-camera, while Lois is interviewing (flying with) Superman. In the original Superman comic book universe, it is safe to assume some, if not all, characters have trouble coming to this conclusion. In real life, although it is possible for a person to recognize Clark Kent, or Superman vice versa, there are numerous people who found they could conceal their identity from at least strangers with a single facial detail like Harold Lloyd (who was an inspiration for Clark Kent) with his glasses or Charlie Chaplin and Groucho Marx with their artificial mustaches. This was probably left out for plot reasons, and to allow a longer running series.<br/><br/>If the comic book series bordered too close to real life, with rational and smart characters, Superman would never have survived this long. His identity would have been deduced very early, and his closest friends and relatives would have been systematically killed. In the modern comics, the disguise has been supported by the fact that the public does not know that Superman have a secret identity since he does not wear a mask, suggesting he has nothing to hide. Furthermore, he has had the help of shapeshifters like the Martian Manhunter who have posed as Clark Kent with Superman in public appearances to make it seem obvious they are two separate people.<br/><br/>More than the glasses, the Clark Kent disguise consists of a completely different personality. Christopher Reeve was chosen, in part, because of his ability to play two completely different characters. Kal-el takes Jor-el's advice that his secret identity is absolutely necessary to heart and develops the Clark Kent persona in order to keep humans from over-relying on Superman and to protect those he loves. Clark Kent is a bumbling, "mild-mannered reporter", easily dismissed by Lois and everyone else; Superman is confident and charismatic with a witty sense of humor. Lois even considers the possibility that they are one and the same and then, considering Clark's personality, dismisses the notion as ridiculous. The skill of Reeve in portraying the identities is demonstrated in this film when Clark is tempted to confess in Lois' apartment; the sight of him simply taking off his glasses, straightening his back and speaking with unexpected timbre has a convincing effect of suggesting another person. In the year 2000, the Director's Cut of Superman was released. Most of the new material are smaller sequences with plot extensions, but there are two bigger sequences added as well. The first one shows Superman in the Fortress of Solitude, talking to his father Jor-El about the advantage of his supernatural powers. The second one shows Luthor trying to stop Superman by the use of heavy arms, fire and ice. The 4-Disc Special Edition is a Must Have for each fan of this film because it's the only DVD release including the Director's Cut and the theatrical cut as well. a5c7b9f00b
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