Superman: The Movie
And to think that there was a time when comic book movies werenât a staple of our modern cinematic landscape. When all cinemas were filled with were so called âseriousâ films competing for our dollars instead of CGI filled superhero fests loaded with big name actors and any number of spectacular storylines. While there have been a number of âbetterâ movies of this type for one reason or another, the fact remains that the blueprint, the âgranddaddyâ of all these films remains this one made in 1978, and if it hadnât been done so well, we may never have seen another. The story behind its conception remains fascinating. Inspired by the first real blockbuster in Spielbergâs Jaws, producers Alexander and Ilya Salkind sought to get their own supercharged film out there, and the longstanding DC Comics icon was as ripe a subject as any. The Salkinds first showed they meant business by the screenwriter they hired: none other than Mario Puzo, definitely not a lightweight whose being brought on board was perhaps more because of his having written The Godfather movies (his true passion project about a subject he knew) than being a literal fan of The Man Of Steel. After customary research, Puzo turned in a massive manuscript that was so huge it had to be cut in half for usage on Superman 2, but it was rife with oddball, âcornyâ moments that would have no place in a serious film about its subject. As other writers took a crack at rewriting it, The Salkinds next hired Richard Donner as director, red hot after just directing The Omen, and Donner sank his teeth into the project with such a ferocity that it led to a eventual falling out with The Salkinds. Then The Salkinds shocked the world and showed that they were serious by the first two castings announced: Legendary actor Gene Hackman came on board as the diabolical supervillain Lex Luthor, the all time classic example of an archnemesis who can legitimately challenge our superhero with just the power of his mind and intellect, and the one and only Marlon Brando as Supermanâs father, Jor-El, commonly thought of as having handpicked Earth as his sonâs new home so he can make a difference in our world. And after a long, exhaustive search during which time literally every big and small name in Hollywood got tried out at one point or another, the filmmakers finally settled on perhaps the most perfect comic book movie casting choice ever in Christopher Reeve. Unknown at the time but obviously fully trained and experienced while being aware of how to handle himself in front of the camera, Reeve would turn out to be the key component in the filmâs success, and rightfully so, bringing the swagger, confidence, sense of humor, and powerful presence as Superman, while also essaying perfectly a lovable, hulking, nerdy, bumbling ass in Clark Kent, keeping his identities separate while also letting the real personality occasionally show through (notice the goofy shit eating grin Superman flashes every time he impresses Lois Lane). The film takes up a good hour with the characterâs backstory, but unlike many other comic book movies, the pacing is brisk during the Krypton scenes with Brando, Terence Stamp as General Zod and a slew of very respectable international stars keeping things real, not to mention solemn and serious as the allegory of Jor-El / God and baby Superman / Jesus being sent to Earth to be the savior of mankind is very well thought out (Brandoâs farewell speech to his son is a thing of beauty), and also helped by Glenn Ford as the earthbound adoptive father of Clark Kent who sums up beautifully the ideas and values that his son from another world is supposed to have regarding his place in the world before his abrupt exit. Then itâs on to more âtrainingâ with Brando in the newly created Fortess Of Solitude with Jeff East (his voice dubbed by Reeve) as the young Clark, before moving on to Metropolis, where Donner smartly chooses to first show Reeve as Kent instead of Superman as he meets up with Marc McClureâs Jimmy Olson (a role McClure played perfectly in the series even showing up as the character in Supergirl despite having an abbreviated career otherwise), Jackie Cooperâs Perry White (a great eleventh hour casting move after several other big name actors fell through that could have used more screen time), and Margot Kidderâs Lois Lane (a controversial choice in this key role to some, but one which she no doubt pulled off with her acting and red hot chemistry with Reeve). It all leads up to Supermanâs âfirst nightâ starting when Lois becomes imperiled hanging from a helicopter (a series of events perfectly set up and paced by Donner before Clark changes into his gear) and of course the rise of Luthor. Some have criticized the light comedic touch brought by Hackman to the part, particularly in his interactions with his supreme bumbling oaf of a henchman in Ned Beattyâs Otis (a funny turn by Beatty in an obvious comic relief part perhaps not to scare the kids while watching evil characters at play but ironically still a character who was NEVER portrayed in any other incarnation of Superman), but Hackman nonetheless does turn on the menace and sinister nature of Luthor when called for, and convinces us that he would be ready, willing, and able to kill millions if need be to achieve his goals and objectives. Definitely not a shabby start to being the first major big name actor to portray a household name comic book villain, even if Luthorâs trademark baldness is kept off camera until the very end mostly because Hackman refused to either wear a skull cap or shave his head for the part. Also bringing a lot of sex appeal to the table is Valerie Perrine as Miss Teschmacher, Luthorâs girlfriend who nonetheless maintains a sweet crush on Superman and the aura of âgoodnessâ he gives off. John Williamsâ music score remains one of the best ever, accentuated by the legendary opening credits sequence. The special effects, while excellent for 1978, still hold up with kind of a quaint appeal, although the aforementioned helicopter rescue still remains awe inspiring. That all these elements held together so well, and managed to still work, is solely on the shoulders of Donner himself, literally inventing a whole new type of movie with some real style and verve, and creating a classic for the ages that the majority of endless Avengers spinoffs can never match when it comes to heartâŚ
10/10