REVIEW: SUPERMAN II: THE RICHARD DONNER CUT

CAST

Christopher Reeve (Rear Window)
Margot Kidder (The Amityville Horror)
Gene Hackman (Heartbreakers)
Ned Beatty (Rango)
Jackie Cooper (The Champ)
Terence Stamp (Yes Man)
Marc McClure (Back To The Future)
Sarah Douglas (Puppet Master III)
Jack O’Halloran (King Kong 1976)
Clifton James (Live and Let Die)
Valerie Perrine (What Women Want)
Marlon Brando (The Godfather)

Many fans of the Christopher Reeve Superman movies know the story behind the second film in that series. Richard Donner directed the first installment and it was a huge success. While he did make a very popular film, he fought with the producers, Alexander and Ilya Salkind, quite a bit. In a surprise move the Salkinds fired Donner from Superman II although he had already filmed 70% of it. The fan magazines at the time attributed the departure of Donner either because 1) the Salkinds were manipulative producers who insisted in micromanaging the production or 2) Donner had turned into a prima donna after the reception that the first received and was acting like an out of control mad-man on the set. The truth is probably somewhere between the two stories.


In any case Richard Lester (A Hard Day’s Night, The Three Musketeers) was handed the reins and created a popular but somewhat silly sequel that has one of the lamest endings of any modern film. (The ‘kiss of forgetfulness’.) A couple of year ago, in 2004, Margo Kidder stated in an interview that Donner had shot enough footage to edit together his version of the film. This started a grass roots based campaign to collect the existing footage and recreate the film that Donner was never able to make. Warner Brothers agreed to go ahead with the project and Michael Thau was put in charge of the restoration. Now, at last, fans of the series can get an idea of what might have been.Starting off at the end of Superman: The Movie, albeit with a slightly different conclusion, Superman II begins with Superman sending an atomic missile out into space to save countless lives. When it finally detonates in the vast space between planets, the shockwave destroys the portal to the Phantom Zone that three Kryptonian criminals were exiled to in the first movie. General Zod (Terence Stamp) and his accomplices, Ursa (Sarah Douglas) and the destructive mute Non (Jack O’Halloran) emerge from their imprisonment and head to Earth where they discover that they have all of the powers of Superman. Though they failed to take over Krypton, conquering Earth will be easy.

It’s made even more facile by the fact that Superman isn’t around. Like in the comics, Lois becomes convinced that mild mannered Clark Kent is really Superman. To prove it she throws herself out of a 30th story window, and when that doesn’t work she comes up with a deviously clever scheme that does.

Clark/Superman seems a bit relieved that his secret is out, because now he can share his life with someone. He takes Lois to his Fortress of Solitude and there he does something with her that never would have gotten past the old Comics Code Authority. The man from Krypton falls in love with his human companion. When he discusses this with the generated image of his father, Jor-El informs him that the only way he can give himself to an Earth woman totally is by becoming human himself. Over his father’s protests, Kal-El places himself in the red sun chamber and is exposed to the rays of his home world sun, rendering him mortal and powerless. Of course when he and Lois make it back to civilization they discover that General Zod has taken over the world and the only person who can stand up to the brute is now powerless.

This is a significantly different version of this story. It’s not just an alternate cut, this movie tells the tale in a totally different way. Though the narrative is a little rough in parts due to the nature of the creation of this film, it is superior to the original in a lot of ways. Gone are a lot of the hokey, silly parts, like most of the fight between Zod and the Texas Sheriff (Clifton James), the Mount Rushmore section and the over-the-top Superman carrying the American Flag ending. The sight gags, which were never very funny, are removed and in their place is more of the witty dialog that made the original movie so much fun. This version has Lois discovering Clark’s secret in a creative and imaginative way, not through some stupid slip on Superman’s part. This version also features Marlon Brando as Jor-El once again, and it’s great to see him playing the role which was originally cut from the theatrical release.

Of course there are some problems. There are some minor plot holes sprinkled through the film, along with several scenes that don’t quite match being forced together, but this is largely due to the nature of this edit. A more troubling aspect is the conclusion. Donner hadn’t actually figured out the ending of the film, so this edit has to fall back to the way the movie was originally going to end before Salkinds decided to eliminate the cliffhanger ending from the first film. This gives viewers a sense of déjà vu, and though it’s still a pretty dumb way to wrap up the movie, it’s better than what Lester came up with.

REVIEW: SUPERMAN IV: THE QUEST FOR PEACE

CAST

Christopher Reeve (Rear Window)
Margot Kidder (The Amityville Horror)
Gene Hackman (Heartbreakers)
Jackie Cooper (The Champ)
Marc McClure (Back To The Future)
Jon Cryer (Two and a Half Men)
Sam Wanamaker (Raw Deal)
Mark Pillow (Wiseguy)
Mariel Hemingway (Manhattan)
Jim Broadbent (Cloud Atlas)
Susannah York (The Calling)
Eugene Lipinski (Goosebumps)

52778_superman02The world is on the brink and Superman takes it upon himself to rid the planet of all nuclear weapons. Of course, war is big business and Lex Luthor sees an opportunity to use the Man of Steel’s quest for peace as a way to make big bucks. By promising various war moguls that he’ll destroy Superman for a cut of the profits, he puts a genetic stew made from Superman’s own DNA aboard one of the rockets he knows Superman is going to throw into the sun. After the Man of Steel does, Nuclear Man is born, a being bent on the destruction of Superman and to do Lex Luthor’s bidding.
MV5BODNmODZmMTMtYTA0NS00ZDE1LThiZTQtMTQ4OWZhMTJlNTRjXkEyXkFqcGdeQXVyNTIzOTk5ODM@._V1_Will Superman stand against this solar villain or will he fail and let the world fall along with him? This was the last box office outing for the Man of Steel for almost twenty years. As a general premise, it’s a basic idea: save the world, your main villain doesn’t want you to and thus creates something powerful to defeat you. But something gets lost in translation and there are so many laughable moments in the movie that it’s the worst of the Superman movies when it could have been the flick to redeem the franchise. The special effects are terrible. I don’t understand how the SFX from the movies nine years earlier were better. Most of the flying scenes were like a cut-out of Superman against a still back drop. Even in one of them, when he’s flying along the river, you can see the wake of the boat from the camera crew. The fight choreography was overly-dramatic and something you’d see in a school play. It seemed they either tried too hard with this movie and it all fell apart, or they just didn’t try at all. As always, Christopher Reeve was amazing as Superman. That’s who he was.screen-shot-2017-06-08-at-53327-pmpngMargot Kidder was back as Lois Lane in this one and you can see glimpses of the connection she and Superman had in Superman I and II, but nothing comes to fruition in this. Granted, this movie didn’t have any romantic elements other than one scene where the two fly together, which was just repeated footage cut over a multitude of backgrounds. (They fly around the whole world in that sequence in record time, too.) There is a lot wrong with this movie with plenty of story and continuity inconsistencies, never mind the introduction of new superpowers that are not in the comics or other films (i.e. Superman rebuilding the Great Wall of China just by looking it). There were, however, some things right with the movie. One of my favorite parts is when Clark and Superman are invited up to Lacy Warfield’s (Mariel Hemingway’s) penthouse. Clark has to keep coming up with ways to disappear and become Superman and vice versa without tipping Lois and Lacy off that the two are one and the same. This was well done and the ways he does it are very creative.supermaniv_heroGene Hackman’s Lex Luthor—yes, he is the greatest criminal mind of our time and for good reason. He does the part just as well as he did back in Superman I and II. Who else would come up with a way to destroy Superman that would also make him stinking rich in the meantime? This is one of those movies that if you go in and see it for what it is, you’ll be fine with it. Won’t change your life, but you’ll be fine with it. If you go in expecting a stellar superhero movie, especially one that could stand toe-to-toe with the super flicks of today, then you’ll want to look elsewhere.

 

REVIEW: SUPERMAN III

CAST

Christopher Reeve (Rear Window)
Margot Kidder (The Amityville Horror)
Jackie Cooper (The Champ)
Marc McClure (Back To The Future)
Richard Pryor (The Three Muscatels)
Annette O’ Toole (Smallville)
Annie Ross (Pump Up The Volume)
Pamela Stephenson (Finders Keepers)
Robert Vaughn (Bullitt)
Gavan O’Herlihy (Willow)

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For a sequel that takes place on such a grand scale, Richard Lester’s ”Superman III” is surprisingly offhand. It’s almost as though Superman, now that all the zap! and pow! and boom! are behind him, has shed his comic-book pizazz to become an ordinary fellow. He seems to spend much more time as Clark Kent in this installment, for one thing. For another, even when he does perform miracles – freezing a lake with his icy breath in one episode, then flying the instant glacier to the scene of a chemical fire – the action is somewhat lowkey.

This film’s Superman is a fellow who, while the fire blazes, will stand patiently in a laboratory listening to a scientist explain about the flash point at which certain volatile substances will explode. Not that Superman, who is once again played smashingly by Christopher Reeve, shouldn’t know his share of chemistry – it’s just that he began as a comic-book character, and he is one still, for all the extra color and vitality these films have given him. He’s a man of action, first and foremost, and there’s nothing wrong with a little cartoonish enthusiasm to accompany his adventures. Yet even the musical flourishes in ”Superman III” are unaccountably mild.

The film begins with a Rube Goldbergish chain of accidents that finally calls for the presence of you-know-who, whose arrival ought to be heralded with plenty of fanfare. Mr. Lester directs the mishaps with a charming ease, but he makes Superman’s entrance relatively nonchalant, too.

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The screenplay, by David and Leslie Newman, divides itself between the activities of the hero and his new set of adversaries. But this time the villains have an edge: Richard Pryor. Mr. Pryor very appealingly plays a down-on-his-luck dishwasher (he’s first seen in a funny scene on an unemployment line) who discovers he has a great talent for computers and whose abilities are not lost on the ridiculously rich industrialist from whose company he has embezzled a little spending money. (He spends it on a hot new red convertible, which is how the industrialist catches him in the first place.) This wealthy villain, played nattily by Robert Vaughan, is so rich he’s never worn the same socks twice. He even has his own rooftop ski slope right in the middle of downtown Metropolis, which makes for one of the film’s more inspired sight gags.

The film divides itself, a little too strenuously, between the computer intrigue masterminded by Mr. Vaughan and some of Superman’s own story. As Clark Kent, Superman attends his high-school reunion in Smallville, takes up with an old flame, Lana Lang (Annette O’Toole), while Lois Lane is on vacation and has a personality crisis brought on by some quasi-Kryptonite Mr. Pryor has devised. As a part of this development, he turns up in a dirty maroon cape, guzzles beer, chases women and spitefully straightens the Leaning Tower of Pisa. These imaginative developments culminate in a nasty fight between Superman and Clark Kent, who like the good and bad sides of Darth Vader, must slug it out for dominance. Along with computer tricks, a number of which ‘Superman III also contains, split personalities seem to be big this summer.
Annette O'Toole, Christopher Reeve, and Paul Kaethler in Superman III (1983)
Anyone who has been following the ”Superman” saga will find this installment enjoyable enough, but alot of the magic is missing. At its best, the series has relied on humor, enthusiasm, big, bold colors and the amazingly apt presence of Mr. Reeve. This time, there are Mr. Pryor and the Grand Canyon and a bit more psychological dimension, all of them worthwhile but none strictly necessary. His simplicity remains the Man of Steel’s greatest and most underrated superpower.

 

REVIEW: SUPERMAN II

CAST

Christopher Reeve (Rear Window)
Margot Kidder (The Amityville Horror)
Gene Hackman (Heartbreakers)
Ned Beatty (Rango)
Jackie Cooper (The Champ)
Terence Stamp (Yes Man)
Marc McClure (Back To The Future)
Sarah Douglas (Puppet Master III)
Jack O’Halloran (King Kong 1976)
Valerie Perrine (What Women Want)
Susannah York (They Shoot Horsesm Don’t They?)
Clifton James (Live and Let Die)
Richard Griffiths (Harry Potter)
E.G. Marshall (Nixon)
John Ratzenberger (Cheers)
Eugene Lipinski (Highlander: The Series)

Superman II opens with a visual recap of the first movie during the opening credits. This is intended to refresh the memories of those who saw Superman, not to provide a primer for those who did not. Almost all of the surviving characters from Superman are back, some for cameos and some for more substantive screen time. The comically villainous Lex Luthor (Gene Hackman) once again provides a thorn in Superman’s side; his henchman, Otis (Ned Beatty), appears in a few scenes, as does the scatterbrained Miss Teschmacher (Valerie Perrine). The three villains from Krypton – General Zod (Terence Stamp), Ursa (Sarah Douglas), and Non (Jack O’Halloran) – have greatly expanded roles. Everyone on the Daily Planet staff has returned: Perry White (Jackie Cooper), Jimmy Olsen (Marc McClure), and, of course, Lois Lane (Margo Kidder). Even Superman’s dead mother, Lara (Susannah York), makes a fleeting appearance. Absent is Marlon Brando, who refused to allow his work from Superman to be used in flashbacks or otherwise. Fortunately, Jor-El’s absence isn’t an issue.

Because the roster of characters is loaded with returning faces, there isn’t much room for new players. E.G. Marshall plays the United States President in a few scenes, and Clifton James has a cameo as the Sheriff of East Houston.  Other than those two and a few other minor characters (such as the bully in the diner who has a couple of run-ins with Clark Kent), Superman II is stocked from the same pool as Superman. (Almost everyone except Brando signed for two movies at the outset.) Rectifying one of Superman’s flaws, Superman II offers not just one, but three, effective villains. Each of the criminals from Krypton is as strong as the Man of Steel, and their amorality makes them far more dangerous. They have come to Earth for conquest and revenge (upon the son of their former jailer), and are surprised to learn that Kal-El is not lording it over the inferior human beings. Upon realizing this, a bemused Zod remarks, “This ‘Superman’ is nothing of the kind. I have discovered his weakness. He cares about these creatures.” Ursa, groping for a response, ventures, “Like pets?” The prominence of the three supervillains allows Lex Luthor to fill the role of comic relief – a part that fits Hackman to a “T”. And, in addition to playing an important part in the way things eventually turn out, Luthor has nearly all of the best lines.Superman-II-645x370The film opens with Superman flying to Paris to stop a group of terrorists from blowing up the Eiffel Tower with a hydrogen bomb. Hurling the device deep into space before it can explode, Superman saves the planet from nuclear devastation. Unbeknownst to him, however, he creates a bigger problem. Shock waves from the bomb rip open the “Phantom Zone” in which Jor-El had imprisoned Zod and his two cronies. Free, they make their way to the Moon, then to Earth, intent upon conquest. Meanwhile, Clark and Lois end up in Niagara Falls doing a piece of investigative journalism. While there, things heat up between the two of them as Lois finally realizes that Clark and Superman are one and the same. Once she has confessed her love for him, and he for her, they fly to his Fortress of Solitude, where he uses a supposedly irreversible process to strip away his superpowers so he can share his life with a mortal. Unfortunately, after returning to the real world and getting a rude awakening about his new physical limitations, Clark learns that, without Superman, the world is doomed to be ruled by Zod, Ursa, Non, and perhaps Luthor (who only wants Australia). So, leaving Lois to return to Metropolis by herself, he heads back to the Fortress, hoping to find some way to resurrect his powers.
Sarah Douglas, Margot Kidder, and Jack O'Halloran in Superman II (1980)
Obviously, the centerpiece of the film is the epic battle between Superman and the supervillains, which takes place high above Metropolis. Pyrotechnics abound, and, while the flying sequences still suffer from the same problems as those in the original Superman, their deficiencies are not distracting enough to diminish the high adrenaline aspects of the struggle. However, while this may be the most ambitious part of the movie, it’s not my favorite – that honor goes to the Clark/Lois scenes at Niagara Falls, which are, by turns, humorous, gentle, and suffused with a quiet sense of joy. Both Kidder and Reeve shine during these moments, and they display the kind of chemistry that has us rooting for them to defy the odds and remain together. It’s the freshness of these scenes that makes the denouement unexpectedly touching.

As with the original Superman, Superman II is a comic book come to life. It is a fantasy, and, as a result, the more deeply you apply rational thought to what’s transpiring on screen, the more quickly everything will unravel. Fortunately, the rapid pacing and strong character identification makes suspension of disbelief a relatively easy task, even during the most preposterous of moments (Luthor’s escape from prison, Clark’s return to the Fortress, and the final “twist” that results in Zod and his fellows getting their comeuppance). In fact, one of the key elements that differentiates the first two Supermans from the later pair of sequels (and the tangentially related Supergirl, for that matter) is our ability to suspend disbelief. Superman III and Superman IV are so patently idiotic that no amount of goodwill on the viewer’s part will allow him or her to get past the bad writing.

Visually, the look and feel of Superman has been replicated in the sequel. Unlike Batman, which staked its credibility on style, Superman was never as concerned with the visual dynamic. The Fortress of Solitude is the exception, but there is no attempt to hide the fact that Metropolis is actually New York City. Musically, the decision was made to retain John Williams’ signature themes from the original Superman, as re-worked by Ken Thorne. The result is effective, allowing the two Supermans to be as much musical twins as they are visual ones. Most importantly, Superman II delivers on the promise hinted at in Superman. Which is the better film? That’s a hard choice to make, since both succeed in different ways. Superman acquaints us with the characters and sets up the scenario; Superman II takes the plot threads introduced in the original and resolves them. In my review of Superman, I noted that it is possible to watch and enjoy that film without having seen the sequel. A similar comment can be made regarding Superman II – having viewed its predecessor is not a necessary prerequisite to appreciating the second installment. Nevertheless, it should be obvious that the best approach is to see both movies (back-to-back, if possible).


As promised at the end of Superman II, there was a Superman III.

REVIEW: SUPERMAN: THE MOVIE – THE EXPANDED CUT

CAST

Christopher Reeve (Rear Window)
Marlon Brando (The Godfather)
Margot Kidder (The Amityville Horror)
Gene Hackman (Heartbreakers)
Ned Beatty (Rango)
Jackie Cooper (The Champ)
Glenn Ford (The Long Ride Home)
Terence Stamp (Yes Man)
Trevor Howard (Gandhi)
Marc McClure (Back To The Future)
Sarah Douglas (Puppet Master III)
Jack O’Halloran (King Kong 1976)
Valerie Perrine (What Women Want)
Maria Schell (Inside The Third Reich)
Phyllis Thaxter (The Longest Night)
Susannah York (Visitors)
Jeff East (Pumpkinhead)
Kirk Alyn (Superman 1948)
Noel Neil (Adventures of Superman)
Larry Hagman (Dallas)
Diane Sherry Case (Sins of The Father)
Rex Everhart (Friday The 13th)
John Ratzenberger (Cheers)

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The expanded Superman film sees several new scenes that add to the fun and magic of the film.

  • Some added dialogue when Jor-El is talking with the council.
  • The council calls an “Executioner” to hunt and kill Jor-El to keep the rocket from launching.
  • Noel Neill and Kirk Alyn’s speaking cameos
  • Little girl sees Clark running faster than train, parents call her Lois Lane.
  • In the kitchen Martha Kent takes out a box of Cheerios.
  • After rescuing Air Force One Superman returns to Fortress of Solitude and has a conversation with his father.
  • In Metropolis when the news of Superman comes out, Clark is a spectator. A stranger (played by an uncredited Richard Donner) comments “that’ll be the day when a man can fly”; Clark grins.
  • While trying to get Luthor’s lair Superman goes through machine guns, flame throwers, ice machines with Luthor taunting on loudspeaker.
  • The sequence with the Girl Scouts.

REVIEW: SUPERMAN: THE MOVIE

 

CAST

Christopher Reeve (Rear Window)
Marlon Brando (The Godfather)
Margot Kidder (The Amityville Horror)
Gene Hackman (Heartbreakers)
Ned Beatty (Rango)
Jackie Cooper (The Champ)
Glenn Ford (The Long Ride Home)
Terence Stamp (Yes Man)
Trevor Howard (Gandhi)
Marc McClure (Back To The Future)
Sarah Douglas (Puppet Master III)
Jack O’Halloran (King Kong 1976)
Valerie Perrine (What Women Want)
Maria Schell (Inside The Third Reich)
Phyllis Thaxter (The Longest Night)
Susannah York (Visitors)
Jeff East (Pumpkinhead)
Kirk Alyn (Superman 1948)
Noel Neill (Adventures of Superman)
Larry Hagman (Dallas)
Diane Sherry Case (Sins of The Father)
Rex Everhart (Friday The 13th)
John Ratzenberger (Cheers)

“You’ll Believe a Man Can Fly!” That was the tag-line for 1978’s blockbuster film Superman. Touting both the innovative special effects and the exciting nature of the film, this was enough to get an unapologetic comic book geek like myself into the theaters to see the movie. At the time I enjoyed the film, mostly. While I was very disappointed in the ending, the rest of the film was a great ride that got me back into the theater for a second look. Of course I hadn’t known about the arduous shooting or the conflicts between the producer and the director, but that only showed up on screen indirectly. It has been over a decade since I saw Superman: The Movie and I was afraid that it wouldn’t hold up as well as I had remembered it. While there are some dated parts, the movie still is a lot of fun.


The movie starts on Krypton, where Jor-El (Marlon Brando) is sentencing three villains led by the traitorous General Zod to an eternity of imprisonment in the Phantom Zone. After his task has been completed, the doomed man once again insists that Krypton is going to explode in a matter of days, only to have the council laugh at him once more. Returning home, the scientist puts the finishing touches on the space craft that will save his only son, Kal-El. He finishes just before the planet disintegrates and launches his son towards a distant planet called Earth.

Three years later the craft lands in the field of John (Glenn Ford) and Martha Kent (Phyllis Thaxter). They take the small tot who emerges and raise him as their own instilling a sense of honesty, truthfulness, and morality into the lad. They name him Clark and soon discover that he has “powers above and beyond those of mortal men,” and train him to hide these in order not to attract attention to himself.
Christopher Reeve in Superman (1978)
Eventually Clark (Christopher Reeve) leaves home and goes to Metropolis. There he gets a job as a newspaper reporter alongside ace reporter Lois Lane (Margot Kidder) and photographer Jimmy Olsen. When danger strikes however, Clark sheds his 50’s business suit to reveal the red and blue costume of Superman.
Christopher Reeve in Superman (1978)
It’s not long before danger does strike. The criminal genius Lex Luthor (Gene Hackman) has a plan to make himself incredibly wealthy. He has bought up a lot of desert land just east of the San Andreas fault, land that will be worth millions once the nuclear missiles Lex has reprogrammed detonate on the fault line and cause much of California to sink into the ocean. The only person who can stop this mad man is Superman, but Lex has thought about that too. This is a really fun movie in a lot of ways. Even though the Man of Steel’s origin is known to almost everyone, seeing it play out on film is really enjoyable. Watching a baby Clark hold up a pickup truck when the jack slips is sure to bring a smile to viewer’s faces, likewise the scene where Clark outruns the high school kids in a car who were teasing him. Superman’s first deeds in Metropolis are also highly enjoyable and keep the movie moving along at a good clip.

Christopher Reeve does a fantastic job as Clark Kent/Superman. He has Clark’s nebbish qualities down pat while still being impressive as Superman, a trick that few other actors can pull off. (Even George Reeves was never convincing as Clark in the old Adventures of Superman TV show.) Clark’s ‘just off the farm’ act comes across as being believable and not a parody. The special effects stand up very well, even today. Though the flying sequences lack the “wow” factor they had nearly 30 years ago, they don’t look hokey and dated at all. Superman still looks realistic when flying and the other effects come across as natural too. There are one or two effects that don’t work that well, when Luthor freezes Superman in a block of ice for example, and it’s interesting to note that these were left out of the theatrical cut.

That said there are some aspects of the film that don’t work so well. The goofy sided kick is a bit is dated now, even as it was when the film was made. At one point Lex Luthor even wonders out loud when he surrounds himself with idiots, something the audience had been wondering for a while.

The reprogramming of the nuclear missiles was also something viewers have to take with a grain of salt. The fact that military officers would leave nukes unguarded is rather laughable. The fact that Lex’s idiotic sidekicks could reprogram them is even harder to swallow.

The worst aspect of the film is the ending, and it’s not really the director’s fault. Originally Richard Donner was supposed to direct the first two Superman films, and he managed to shoot much of the sequel while directing this first movie. This was the formula that the producers, the father and son team of Alexander and Ilya Salkind, had used with much success on the two Musketeer movies they made in the mid-seventies. For whatever reason, the constant fighting with the director or just getting cold feet, the Salkinds at the last minute decided not to end this first Superman film with a cliffhanger. Originally Superman was supposed have shot one rocket into space which explodes and released the Kryptonian criminals from the beginning of the movie. That would have worked much better than how the film currently ends.

REVIEW: LOOK, UP IN THE SKY! THE AMAZING STORY OF SUPERMAN

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Starring

Kevin Spacey (Superman Returns)
Mark Hamill (Star wars)
Stan Lee (Avengers Assemble)
Noel Neill (Atom Man vs Superman)
Jack Larson (Adventures of Superman)
Bill Mumy (Babylon 5)
Annette O’Toole (Smallville)
Adam West (Family Guy)
Margot Kidder (Superman)
Jackie Cooper (The People’s Choice)
Dean Cain (Lois & Clark)
Brandon Routh (Superman Returns)
Kate Bosworth (Blue Crush)
Sam Huntington (Fanboys)

Brandon Routh in Superman Returns (2006)The trick with releasing a documentary about the history of Superman a mere week before “Superman Returns” arrives in theaters: you don’t want to make it feel like one big commercial for the new movie; you need to find a healthy balance between fun and informative, being careful that you don’t wind up being fluffy or stuffy; you don’t want to make it feel like one big commercial for the new movie; you need to present enough new material so you’re not merely rehashing facts that everybody already knows and clips everybody’s already seen.George Reeves and Noel Neill in Adventures of Superman (1952)In fact, Burns goes the completely opposite route (although he does bring us Kevin Spacey, star of the New Hit Movie, for narration duties); in just under two hours, he and his crew offer up the most complete history of the character I’ve ever seen. We get it all in extreme detail, from Shuster and Siegel’s original “Super-Man” short story (the name was used to define an evil psychic) to long discussions on George Reeves and Christopher Reeve to DC Comics’ ups and downs with the character on the comics page. For the newcomer, you get a detailed examination of the Man of Steel’s many changes over the decades; for the hardcore Supes fanatic, you get ultra-rare clips of the 1950s “Superboy,” “Superpup” (in which little people wore dog costumes!), and the infamous musical comedy “It’s a Bird! It’s a Plane! It’s Superman!,” seen here in a television adaptation starring David Wilson, who could not dance, as a dancing Superman. (A word of warning: Think of the worst thing you can possibly imagine. Now think of something even worse than that. Push yourself hard to think up something even worse still. Beyond that, dear reader, you will find “It’s a Bird! It’s a Plane! It’s Superman!”)Kirk Alyn, Don C. Harvey, Jack Ingram, Noel Neill, and Lyle Talbot in Atom Man vs. Superman (1950)“Look, Up In the Sky!” works best in its first hour, when time is spent detailing the history of the comics, radio shows, cartoon shorts, serial, movie (“Superman and the Mole Men”), and TV series – perhaps because by the time we turn our attention to the 1978 film “Superman,” we’ve seen a lot of this stuff before, either in previous documentaries or as DVD bonus features, unlike the earlier projects, whose behind-the-scenes shenanigans have remained relatively unseen. When the movie spends plenty of time on the Reeve era, one gets the feeling that Burns is holding back, perhaps not wanting this portion of the timeline (with its ample archival material) to overshadow the rest of the story, perhaps not to repeat too much of what’s already been seen elsewhere, or perhaps to leave a little something for the supplemental sections of the forthcoming deluxe DVD releases.Christopher Reeve in Superman II (1980)Also, the documentary struggles in how to deal with the rest of the Reeve era. How to discuss Richard Donner being replaced on “Superman II” with Richard Lester without making either Donner or producer Ilya Salkind (who, after all, were both kind enough to be interviewed for this film) look bad? How to discuss the negative responses to “Superman III” and “IV” without delivering a drubbing so terrible that potential customers might not want the box set come autumn? Heck, how to discuss “Superman III” and “IV” without showing any of the behind-the-scenes material that made the look into the first movie so interesting? And what do you do with “Supergirl,” a movie for which Warner Bros. obviously declined any effort in obtaining rights, other than to brush it off with a couple sentences of narration and a few stock photos?Christopher Reeve in Superman II (1980)By the time we hit the late 1980s, it becomes obvious that Burns has become rushed for time yet is obligated to tow the company line – he glosses over such important information as John Byrne’s critical 1986 relaunching of the character, while giving plenty of extra attention to the late-80s syndicated series “Superboy,” a show nobody remembers that much, but hey, Warner Bros. just released the first season on DVD, so we better hype it up.Richard Pryor, Christopher Reeve, Larry Lamb, and Christopher Malcolm in Superman III (1983)We get an awkward potpourri, with Burns taking the time to discuss such important matters as the death (and, natch, rebirth) of Superman and the wedding of Clark and Lois, both which temporarily helped to boost comics sales, but then becoming very unsure as to how to handle the 1996 animated series and its follow-ups, concluding with the current “Justice League Unlimited” cartoon. (Both are mentioned, but in an ill-fitting obligatory tone.) “Lois & Clark” also gets a solid mention, but it again feels as if Burns is walking on tiptoes, trying to avoid anything that might wind up on a future DVD collection. (There’s also an extremely odd breakaway to discuss 9/11, which gets tied back to Superman in the flimsiest of manners, as if Burns is now simply grasping wildly in an attempt to retain some connection with the viewer, or show the relevance of a character that at the time wasn’t much in the pop culture forefront.)Annette O'Toole, Christopher Reeve, and Paul Kaethler in Superman III (1983)The last chunk is spent singing the praises of “Smallville” and “Superman Returns,” and it’s here that it becomes very clear that the movie should’ve stopped somewhere around the mid-90s mark. There’s not enough distance to properly analyze the impact of “Smallville,” and the facts get purposely fudged to make the series feel more important than future generations may believe. (Getting the largest ratings of all shows on the WB sounds more impressive than it really is.) Without any chance at hindsight, there’s no proper way to honestly gauge how the series fits into the history of the character, but instead of omitting anything, Burns merely turns on the hard sell.Brandon Routh in Superman Returns (2006)And then comes “Superman Returns,” and Burns is left with the unfortunate job of pushing it without sounding like he’s pushing it, showing clips without giving away too much, making this present-day release sound like part of history. (Most awkward moment: Spacey refers to himself in the third person.) On the plus side, you do get to see the crazed ramblings of producer Jon Peters, who admits to having had some very bad ideas in his decade-long trek in bringing Superman back to the big screen; one wonders if anybody slipped him a copy of “An Evening With Kevin Smith” as a wake-up call.