Folks can debate till the cows come home what the best, big-budget superhero picture is, but no one can deny the impact and enduring influence of the granddaddy of 'em all: "Superman: the Movie".
To celebrate its fortieth anniversary release, which otherwise takes place December 15, Fathom Events is presenting the remastered movie (original, theatrical cut) on Nov 25, 27 and Dec 3. Its vibrancy in sight and sound has never been as crisp or invigorating: all the more reason to pay a respectful (re)visit.
Directed by the versatile Richard Donner and scripted (per various drafts) by Mario "The Godfather" Puzo; Robert Benton; and Leslie and Robert Newman, the production became one of the most successful pictures ever made (with inflation tallied, it would still hold its own with current counterparts). In that prior Superman outings (i.e., the Kirk Alyn movie serials and George Reeves' "Superman and the Mole Men") had limited budgets (and were lambasted by shortsighted critics), the filmmakers had the monumental task of proving that a pumped-up version of Joe Shuster and Jerry Siegel's mythology could click on the big screen. Despite the alleged odds, they accomplished a commendable composite of pathos, comedy, love and righteous exploits that left audiences captivated and yearning for more.
There's no doubt that "Superman: the Movie" flaunted its value via fantastic effects (the flying sequences are still unprecedented), but the production succeeds because it's a passionate labor of love. Those attached to it (even if Donner and producers, Alexander and Ilya Salkind parted on bitter terms) gave it their all, ensuring the film stayed faithful to its DC source. The production was, after all, a representation of American legend, and nothing less than a principled commemoration would do.
While other superhero movies have tried to rival its success, "Superman: the Movie" exceeds them by unconditionally embracing its moral ideology. For example, this Superman isn't afraid to say that he stands for "Truth, justice and the American way." Try to find that in more recent Kal-El excursions, not to mention any CW/DC series. In addition, our eponymous hero places the same emphasis on both big and small tasks, ranging from rescuing a cat to battling a nuclear-nabbing, Kryptonite-bearing foe.
The movie's mass acceptance made a global star of "Love of Life'"s Christopher Reeve, who injected Kal-El with focused, friendly dignity and painted his Clark Kent in the way of a bumbling, identifiable Cary Grant: two personalities rolled into one to beguile those who might (by accident or plan) curb his compassionate cause.
Margot Kidder, who established herself in a trio of stellar thrillers, hit even higher ground as the sassy but awestruck Lois Lane. To bracket their acceptance, Kidder and Reeves were accompanied by marquee-value names like Gene Hackman as Lex Luthor; Ned Beatty as Otis; Valerie Perrine as Miss Teschmacher; Glenn Ford as Pa Kent; Phyllis Thaxter as Ma Kent; Jackie Cooper as Perry White; Marc McClure as Jimmy Olsen; Marlon Brando as Jor-El; Susannah York as Lara; Terence Stamp as General Zod; Sarah Douglas as Ursa; and Jack O'Halloran as Non. (One can spot cameos by Larry Hagman; Harry Andrews; Rex Reed; John Ratzenberger; and Noel Neill.) Pretty darn impressive, and all are excellent (if not spot-on) in their roles.
To further the movie's significance, John Williams' score is extraordinary: his main-title march and "Can You Read My Mind?" being two of the most hummed pieces of cinema history. (In my estimation, the score is William's best, and that's sure saying something, considering his immaculate queue.)
In addition, "Superman: the Movie" contains what many considered to be the definitive representation of Krypton: regal, ornate and like precarious glass, doomed to crash.
The movie spawned a blockbuster sequel (shot, for the most part, alongside the first), plus three, complementary chapters (Bryan Singer's "Superman Returns", starring Brandon Routh, included), in addition to a "Supergirl" spin-off, starring Helen Slater.
If you'd like to catch the Man of Steel's '78 adventure again (or for the first time) on the sprawling screen, here's your chance; if not, the HD Blu-ray is available for purchase. And if you can't swing either format, dig into your collection, pull out an old, faithful copy (no matter what the cut) and celebrate one of the best of the best, four decades after it touched your heart, lifted your spirits and indeed, made you believe a man can fly.
Without question, "Superman '78" is as good as it ever was--better, in fact. The vibrancy is spellbinding. I'm so pleased that its 40th anniversary is marked by this respectful, theatrical re-release.
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