REVIEW: ATOM MAN VS SUPERMAN

 

 

CAST

Kirk Alyn (When Worlds Collide)
Noel Neill (Music Man)
Tommy Bond (Five Little Peppers at Home)
Pierre Watkin (Mr. Smith Goes to Washington)
Lyle Talbot (Batman & Robin 1948)
Jack Ingram (Man Without a Star)
Don C. Harvey (The Scarlet Coat)

Atom Man vs. Superman was a Columbia serial of 15 installments. It’s notable as the second live action version of Superman to hit the big screen. It’s penchant for campy sci-fi gadgetry was a precursor to the Silver Age. As with the 1948 Superman serial, the budget is quite low and the special effects have been added in as animation, though some improvements have been made – notably closeups of Superman with his hair and cape blowing while in flight. I like that the first episode, ‘Superman Flies Again’, wastes no time on Superman’s origin. It doesn’t even waste time introducing Luthor, even though he wasn’t in the first serial. It is mentioned that Luthor is Superman’s arch-enemy, but other than that it presumes you know who Superman and Luthor is before it begins – something the modern Superman film franchise could take note of. With the second episode, the series slips quite a bit. There are a number of plot holes (mostly concerning who has a special coin and who knows they have it), and there are several moments of bad acting. There’s a lot of use of gimmicky gadgets, and Atom Man himself looks kind of funny with a giant sparkly head mask. On the plus side, the effects are a bit better than in the last serial, with the film sped up in parts to make it look like Superman is moving at super speed. The ship rescue was a nice touch, showing that Superman still has other work to do besides fighting Atom Man.

The third episode keeps things moving, with Superman rescuing Lois from a fall from a skyscraper, putting out a blazing oil fire, rescuing Luthor from an assassination attempt, and saving Jimmy and Lois when their airplane becomes disabled. Though his part is small, the highlight of the episode is Lyle Talbot as Luthor, who is clearly the best actor in the series. And, even though he has a somewhat silly script to deal with, his portrayal of Luthor as a no-nonsense businessman may be the best ever, possibly even superior to Gene Hackman’s version in the 1978 film Superman.

The fourth episode is both good and bad – Superman rescues Lois and Jimmy in a perfunctory sequence, then they go back to the Daily Planet where they celebrate Lois’ birthday – only to have a fake gift transport her into the clutches of Atom Man. The episode has some great ideas – particularly Superman’s plan to get himself ‘captured’ to save Lois, but it seems to move from idea to idea too fast to capitalize on them.

The fifth episode is one of the best written episodes of the series. Superman enlists the help of the Daily Planet to post a fake news story about a shipment of plutonium – a material Atom Man needs for his plans – as a trap. But Luthor is too smart for this and turns the tables, sending a henchman into the trap to be captured and interrogated – thus revealing information about a secret package at the check room at Central Station, knowing that Superman would go there and investigate, inspecting all the packages with X-Ray vision. And leaving an inert material that converts to plutonium when subjected to X-Rays, allowing Luthor to get his hands on actual plutonium!

The sixth episode has a lot of things that really annoy me. There is an appalling lack of understanding of science – in addition to the X-ray vision turning the alloy nails into plutonium – and they just open up the box and look at them with no protection, there is the part where Luthor teleports a henchman wearing just a business suit into outer space, then brings him back a couple minutes later just fine. Later Luthor decides he now needs radium, and so he plans to steel it from a reduction plant. A little of this could be excused by the era, maybe it wasn’t yet common knowledge that space is a vacuum, but it really seems they didn’t even try to be respectful of science.

There’s also a lot of ridiculous plot and action points, for example, Lois escaping some thugs by throwing powder in their faces, the bad guys getting radium from a hospital safe by just asking for it and showing no credentials, the reduction plant having a vault that has a lethal gas booby trap, and Jimmy driving right onto a bombing range (no fence, gate, guard or anything) and there happening to be a bomber on a test run to drop a bomb right on him. There are a few good points in this one too, though. Lyle Talbot’s Luthor is particularly devious – when his henchmen fail him he threatens to sentence one to the vast doom of space and asks them who it will be, then when one of the men volunteers, he says that he’s brave – and then he chooses to sentence the other one instead. Also, unlike most of the chapters where all the Superman special effects are animated, this one actually has a pretty realistic looking scene of Kirk Allen overturning a villain’s car and then ripping out the engine and using it to bar the upright door from opening.

Episode 7 is a great episode – as the rough halfway point, it acts as a summary on Superman. Lex Luthor reveals that he acquired the records of Jor-El’s final pleas. In something that has been copied and re-used in many times in Superman stories since, we find out that Lex Luthor knows more about Superman’s origins than Superman himself. It also has the added twist on the end of Krypton that the planet-wide upheaval was caused by a decaying orbit – a pretty good science based explanation for the time. This is accomplished quite deftly in this episode by using a lot of found footage including natural disaster footage, and clips from the original Superman Serial.

The eighth episode provides something of a twist: we finally learn what exactly the ’empty doom’ is – it’s not so much a place (though it could involve displacement in space as well), so much as it’s a form of incorporealness. Superman is unable to affect the physical world. Though he does somehow manage to find a way to send Lois and Jimmy a message via her typewriter (possibly because it’s electric). There’s a lot of unexplained stuff, from how he types, to what is the empty doom, to more mundane things like why does everyone willingly stand under Luthor’s main arc without restraints, and what exactly does Lois keep in her purse that enables her to club thugs unconscious with it… but overall, the fantasy elements of this episode are a nice change of pace, even as poorly explained as they are.

Episode 9, ‘Superman Crashes Through’ takes things too far. In addition to the profound misunderstanding of outer space which I’ve been able to excuse up to this point, we also discover that Luthor’s synthetic kryptonite doesn’t work when exposed to air, and when Superman finally manages to get the drop on Atom Man, it turns out to be just an Atom Man robot. Things get better in the second half, but not enough to save this installment. Episode 10: ‘Atom Man’s Heat Ray’, despite its title, isn’t as grandiose as you might suspect. The heat ray itself is a small device Luthor’s men use to make the doorknob to a payroll truck too hot to touch after they’ve trapped some patsies in it. Storywise, this is a pretty good episode, but there are a few really dumb bits in it. At the start of the episode, Jimmy gets his foot stuck in a railroad tie, just as a train happens to be coming, necessitating rescue by Superman. In another part of the episode, Lois catches Clark coming in through a window (after having made an appearance as Superman), and the best thing he can think to cover his tracks is that he “just woke up” on the window ledge. But on the whole it’s a better than average episode, and even Jimmy gets to punch out a bad guy.

I liked episode 11 for a lot of the subtle attention to details. Luthor holds a press conference, and from the way his office is decorated, one can see that he is a man that likes/admires horses. Later when Lois is reporting with her TV crew on a flood, the camera they are using is not a mere prop – she asks for a closer view and the camera man rotates lenses. It’s subtle touches like these that make some episodes, such as this one, just a little better than average. The flood itself is a mixture of stock footage and models that cuts together better in some places than others, but once again it’s good to see Superman in action saving lives rather than just fighting bad guys.

Episode 12 is a fairly good episode, most of the characters behave in intelligent ways (except perhaps Lois in covering the flood – but risk-taking is normal for reporters and it’s not out of character), and the acting is actually pretty good. Lyle Talbot’s reaction as Luthor to a pad being stolen from his office, for example, is very well played. This episode also features one of the smoothest transitions between Kirk Allyn in costume, and the animated Superman, right on screen (rather than the usual Clark ducking behind a rock and emerging as Superman type thing). There is a sense that the series is finally starting to come to a climax.

Luthor’s pseudoscience gimmicks come fast and furious in Episode 13. Heat rays, death rays, camera devices that see everywhere, flying saucers that for all their sophistication are just used as ramming devices. Pretty much all science and logic goes out the window this episode, but at least it’s counterbalanced by the feeling that things are moving toward a climax.

Luthor pulls out all the stops in Episode 14, ‘Rocket of Vengeance’. He attacks Clark and Lois’ plane with a Flying Saucer, attacks Metropolis by means of his perennial favorite tool: an earthquake, orders Superman shot with an Atomic Projector, and finally launches a missile strike on Metropolis. As you can see, at this point the series has been reduced to gimmick-after-gimmick, thankfully everything will resolve in the fifteenth episode.

Like most serials, the final installment is a bit more exciting than the others, but overall the series maintains a pretty even level, unlike a feature film which steadily builds to a climax. The title of Episode 15, ‘Superman Saves the Universe’ may be a bit of hyperbole; by this time Luthor is on the run, and the biggest threat he makes is against one city (Metropolis) on Earth, never mind anyplace else in the universe. It’s overall pretty good though, a full plate of action that makes the episode seem to fly by faster than the previous ones. It should be noted that Kirk Allyn, though his performance throughout is  he generally does a pretty good job as Superman, but the real standout in the cast is Lyle Talbot as Luthor, who does an excellent job of providing a down-to-earth performance, even amid a plot that is rife with over-the-top gadgets and gimmicks.

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REVIEW: SUPERMAN (1948)

CAST

Kirk Alyn (When Worlds Collide)
Noel Neill (Music Man)
Tommy Bond (Five Little Peppers at Home)
Carol Forman (Blackhawk)
George Meeker (Road to Rio)
Jack Ingram (The Cisco Kid)
Pierre Watkin (Mr. Smith Goes to Washington)

we are taking a look at the big blue boy scout’s first attempt on the film screen. That’s right, it’s time to take a look at the first Superman movie serial starring Kirk Alyn. Released in 1948 by Columbia Pictures, the serial was produced by Sam Katzman who produced many film serials starring superheros (and just about every single one I’ve reviewed so far) and contains Kirk Alyn as Clark Kent / Superman.

The serial stays very much true to the origin of Kal-El being launched from Krypton by his father Jor-El, but the only differences are that Jor-El is portrayed as more of a villain that actually caused the destruction of Krypton because of his science experiments and even considered using his son in a prototype rocket to see if it could carry a Kryptonian into space. So the story goes like you remember, Kal-El’s rocket arrives on Earth, the Kent’s pick him up, they take the blanket he was in and made a costume for him out of it when he gets old enough to be a reporter and so on. The plot of the serial is okay, but the only problem is that Superman finds out he is from Krypton for no apparent reason because the rocket he was in explodes mere seconds after Pa Kent rescues him from it thus destroying almost any evidence that he was from the planet Krypton other than the blanket. This is later explained when a meteor from the destroyed planet of Krypton lands on Earth and is discovered by Dr. Leeds who somehow knows it’s from Krypton and thus calls it Kryptonite. Of course, this rock affects Superman and its his Achilles heel throughout the whole serial. At the same time a scientist named Dr. Graham invents a machine that creates natural reducer rays that create a beam that can harness enough energy to trigger an atomic blast. Of course if you saw any of the superhero serials that we review on this website it doesn’t take a genius to figure out that there is going to be a villain that is going to steel the device.

That villain or should I say villainess is The Spider Lady, played by actress Carol Forman who also played the villainess Laska in the movie serial Blackhawk also starring Kirk Alyn. The Spider Lady wants to steal the machine in order to rule the underworld and later learns that Superman is helpless against Kryptonite, so she figures that she could combine the Kryptonite with the device in order for it to officially kill Superman. The way she finds out about the Kryptonite is earlier in the serial when Clark reveals his identity to Dr. Leeds after the discovery of the Kryptonite and is overheard by one of Leeds’ assistants who decides to make some money by offering the information to The Spider Lady for some money.

The majority of the serial revolves around Clark working for the Daily Planet while Lois and Jimmy get into trouble until Superman bails them out. One thing I enjoy about the serial is that most of the action scenes don’t involve long take fist fights and instead focuses on Superman using his powers. One thing that gets really annoying is the fact that the filmmakers use Kryptonite almost every time when they film Superman in an action scene in order to make a decent buildup to the cliffhanger at the end of the episode. It gets old and tiring really fast but when you’re the man of steel, it’s hard to lose to two-bit thugs.

Kirk Alyn and Noel Neill do a great job of portraying Clark/Superman and Lois respectively, bringing a lot of tension and chemistry to the characters and some childish antics between the two. One of the best parts of the serial is the fact that Lois always tries to trump Clark in his stories but ends up getting saved by Superman AND also having her story stolen by Clark as a way for some type of reward for Clark. One of the reasons why Kirk does such a great job is that he adds a touch of Smallville to the Clark Kent/Superman character in that he adds that young charming farm kid-like attitude towards the character. He’s just so bright and chipper that you really feel he’s this kid from the Midwest really trying to make it in the big city and he stands out from the rest of the characters, and it’s not because he has super powers. Noel Neill even brings a feisty attitude to Lois that still resonates today in the comic book and you feel that she really nails the part of Lois.

Now before I end this review, I feel that I should probably voice my opinion on the flight scenes portrayed by Superman in the serial. If you don’t know, many fans of Superman are generally disappointed by the serial because of the fact that Kirk Alyn does not fly in the serial but is in fact, replaced by a cartoon every time he goes to fly. Even before I saw the serial for the first time, it took me years to finally stir enough interest to watch due to the fact that the only thing I heard about it was that the flight scenes suck because Superman doesn’t actually fly. To be honest, it doesn’t really bother me that much. Don’t get me wrong, I would have much preferred to see Kirk Alyn being yanked on a harness uncomfortably than seeing a cartoon,(because we already have the Fleischer cartoons for that) but the animation is okay and it is a little neat to see the animators splice the footage in with the live action scenes. Supposedly Kirk Alyn was supposed to wear a harness in order to film some flight scenes but later complained that it was really uncomfortable and Katzman did not like the test footage, so instead found it cheaper to fire the special effects team created to do the flight scenes and instead hired animators.

Despite all of its shortcomings, Superman is still a great serial to watch mostly due to its great cast and special effects throughout the whole production. The costume on Kirk Alyn looks good and the serial doesn’t rely on fist fights for their action scenes and still manages to pull off a few good cliffhangers. So if you got a couple of hours to kill and if you don’t mind a flying cartoon Superman, then I would give this serial a watch

REVIEW: THE ORIGINAL ADVENTURES OF SUPERMAN

 

CAST (VOICES)

Bud Collyer (Talent Jackpot)
Joan Alexander (Superman/Aquaman)
Jackson Beck (Popeye)
Jack Mercer (The Mighty Hercules)
Julian Noa (Suspence)

1-godzilla-1998-1438781993True classics. Those two words immediately come to mind when I look back at these amazing animated shorts, shorts which are over 70 years old now. The animation is so fluid and so stunning to behold and, sure, the plots are basically the exact same thing repeated over and over, but these shorts are just so hypnotic. Fans of animation and comic books often cite the Fleischer brothers’ Superman animated shorts as the gold standard for others to follow, and rightly so. These cartoons have influenced some of the biggest animated series, including an impact that’s still felt on most DC Comics-themed cartoons today. So, let’s dig a little deeper into this latest collection of some of the best animated shorts to hit the big (and small) screen.

Make them exciting and visually bold, make them in brilliantly saturated Technicolor: This is a job for Superman! Superman’s adventures in comic books were scarcely three years old when the Academy Award-nominated debut cartoon, Superman burst onto the screen with its breakthrough look and vitality. From their signature bullet-paced prologues to their muscular style to their stories steeped in heroics and wartime topicality, these 17 animated theatrical shorts produced by Max Fleischer (with the first nine directed by his brother Dave) set the tone for future screen versions of the Man of Steel’s exploits, inspired animators for decades to come and, best of all, continue to pack a thrilling punch for fans. The excitement still soars!  To anyone who hasn’t seen these shorts before, you’re in for a big surprise. Visually brilliant and flat-out stunning, all 17 shorts included on the DVD is something that every fan should truly have in their collection. These Superman shorts were straightforward, fast-paced, and heavy on the action. The plot set-up was as basic as can be, but the pay-off was always worth it. Even if every episode followed the exact same basic structure, with a handful of exceptions, it didn’t matter. Watching Superman save Lois over and over again from whatever predicament she found herself in was just glorious and, hey, you have to give the writers credit for managing to jam Lois in danger in nearly every short with out it getting too unbelievable. Too see Superman grapple with a runaway train or a giant robot made it all worthwhile because, boy, do these cartoons ever look gorgeous.sddefaultThe use of shadows, the staging, the great design work, all of it. I could seriously gush endlessly about how beautiful these cartoons look, but I’m sure no one wants to read a review that rambles on and on for page after page. These cartoons were staged as if everything happening was real, and it shows. The little flourishes the animators add, like using black lines for some characters and dropping it for others, makes everyone look unique. Couple that with the great art deco design and some really inspired set pieces and you have a cartoon that can’t miss.  These shorts are definitely a product of their time, with Superman fighting a mess of mad scientists and thugs, all armed to the teeth with futuristic technology. Whether it’s robbery, holding the city at ransom, etc., the technology definitely puts up a hefty obstacle for Superman to overcome. And, for the majority, it’s mere fisticuffs to save Metropolis, but some of the latter shorts in this collection the scale is bigger. As one can expect, when the series goes global, especially during the wartime era most of these were produced in, the portrayals of other races and nationalities dive deep into physical and vocal stereotypes.fleischersupermanyoutubeNow, not every short is top-notch. Some of the shorts from the second batch of Superman shorts, are weaker compared to the first ones. One can rightfully assume that the reported behind-the-scenes problems and budget cuts on the second wave of shorts played a big part in why the eight latter shorts in this collection aren’t held in such high esteem as the initial nine. The inclusion of a boy intern, named Louis, is also rightfully the target of dismay toward these latter episodes. Despite all that, the final short “Secret Agent,” featuring Superman helping a secret agent outrun the Nazis, ends the series on a definite high-note.Fleischer_supermanThese cartoons remain a critical part in Superman’s history. Besides, they’re also absolutely amazing to look at and are just incredibly fun adventures. While these cartoons may not be the most complex cartoons ever written, they still manage to catch the audience’s attention with their brilliant design work, sophisticated filming techniques, and visually stunning animation. Whether you’re a Superman fan, a fan of animation, a historian, a casual viewer, whatever, these cartoons definitely need to be part of one’s collection.