Valerie Perrine – Sat In Your Lap

Superman II (1980)

What Is The Story With That Cellophane S?

***This Review Contains Spoilers***

Due to the complex and troubled production behind Superman II it seems likely it would have been destined to become a disaster of a film with the switching of directors from Richard Donner to Richard Lester during the principal photography process. However, instead of turning into a Frankensteinian mess of two director’s visions stitched together into one, I consider Superman II to be the perfect Superman film. A film which improves on the original in so many ways and delivers a more emotionally satisfying film and offering two hours of pure escapist bliss. A rare instance of the perfect combination of cast and crew coming together to create something wonderful. I will also take this opportunity to say: Lester cut > Donner cut (yes, this is a hill I am willing to die on). After watching Superman II: The Richard Donner Cut I thought to myself “Thank God Donner was fired from this production and replaced with Richard Lester”. Within the Donner cut, the romance between Lois and Clark is very forced and underdeveloped; there is a lack of humour, and no exaggeration, one of the absolute worst endings I’ve ever seen – but that’s for another review.

Lester’s style for Superman II forsakes the more epic scope Richard Donner employed for the first film, instead opting for scenes in the film to more resemble the frames of a comic book – Superman II does have more of a comic book/pop-art vibe. Lester brought on cinematographer Robert Paynter for the film to evoke the colour scheme of the comics however the contrast between Lester’s new footage and that shot by Donner which still made it into the film (i.e. all of Gene Hackman’s scenes) isn’t great enough to become distracting. Superman II has a much more brisk pace than the first film, as evident by the opening scene which re-edits the Kryptonian council’s trial of Zod, Ursa and Non to that of a more frantic pace. It does create a continuity issue with the first film as Marlon Brando has been completely removed from the scene (and is absent for the entire film), however, I am able to look past this as the opening is just so darn exciting and perfectly establishes the tone for the rest of the film. With all the setting up done in the first film, Superman II is able to get straight into the thick of it with the action sequence involving terrorists at the Eiffel Tower, and creating high stakes right off the bat. Correspondingly, another individual who doesn’t return for Superman II is that of composer John Williams and thus is lacking the sounds of The London Symphony Orchestra. Rather the film is scored with a smaller orchestra led by composer Ken Throne, however, I actually don’t mind the stripped-down approach to the music and find it does work in its own way. John Williams may have written the iconic Superman theme, but I find Ken Throne’s faster rendition for the opening credits of Superman II to be the best version of the famous theme with its quicker tempo. Likewise, someone in the production must have been fond of the Average White Band song Pick Up The Pieces as not only does it appear in the film, there is a neat orchestral version of it during the second dinner scene.

While their appearance in Superman: The Movie was fleeting, Superman II finally gives us General Zod (Terrence Stamp) and his two accomplices Ursa (Sarah Douglas) and Non (Jack O’Halloran) in all their glory. Terrence Stamp as Zod is one of those performances which bring me eternal levels of respect for an actor. Every one of his beautiful hammed-up, menacing lines I could listen to all day (a posh English accent makes any on-screen villain all the more evil). Alongside Stamp’s scenery-chewing, part of what makes the trio so intriguing is the innocence of their evil. The three don’t actually seem to be unaware of the immorality of their actions, with Ursa, in particular, taking great joy in her evil misdeeds (one of the many international TV cuts of Superman II does feature a scene in which Non kills a child off-screen, although I prefer this scene’s non-inclusion in the theatrical cut as it is too dark in tone with the rest of the film). Likewise, I greatly enjoy the trio’s genuine curiosity during their time on Earth, such as when Zod is genuinely baffled by Lex Luthor’s impudence (“Why do you say this to me when you know I will kill you for it?”). Much humour is devised from this 3^rd Rock From the Sun-type humour such when the trio mistake Earth’s name as planet Houston, nor would any comical/semi-comical act be complete without the dumb one, as even the Kryptonian Council denounces Non for his lack of intelligence (ouch!).

As Zod, Ursa and Non have the same strength as Superman when on Earth, their characters do harken back to the original predecessor story to Superman, Jerry Siegel and Joe Shuster’s short story The Reign Of The Superman from 1933, in which an indestructible “superman” imposes tyranny on the world rather than using his powers for good. However, once Zod becomes supreme leader of Earth in Superman II, he doesn’t actually do anything. He, Ursa and Non just lounge around the Oval Office and don’t do anything while the rest of the world continues as normal. As I argued in my review of Superman: The Movie, Zod was correct to stand up to the authoritarian dystopia that was Krypton, and on Earth, he is the libertarian hero we need. I for one welcome our new Kryptonian overlords (#ZodWasRight). It is also worth noting that in the TV cut of Superman II, during the invasion of The White House, Zod takes particular umbrage at a portrait of Richard Nixon and starts frantically shooting it even though he should have no knowledge of who this man is, I guess it just rubbed him the wrong way.

Although I may put my defence of Zod on hold in favour of the film’s grand action set-piece as the son of Jor-El takes on the Kryptonian trio in a climatic fight which spawns the city of Metropolis. As combat with a villain was absent in the first film, this fight more than satisfies that desire (”Man, this is gonna be good”), with all those wonderfully kitschy special effects on display just getting better with age. The fight also includes multiple humorous uses of product placement as Superman gets thrown onto a Marlboro Cigarettes truck followed by Zod being flung into a Coca-Cola sign only a few seconds later to my great amusement. The inclusion of product placement for Marlboro Cigarettes is odd though considering early in the film there is some very subtle humour coming from Lois Lane speaking about how she is trying to stay healthy her via her intake of orange juice, all while she continues to chain smoke.

As with the first film, the scenes in The Daily Planet have that screwball comedy vibe, however, I feel the dialogue in Superman II is even wittier this time around. The recurring players in all the Christopher Reeve-era Superman films have such a great dynamic together that even in a movie as poor as Superman IV I can still enjoy their interactions. The major cast member absence of Superman II is Marlon Brando, however Susannah York as Superman/Kal-El’s mother does an effective job filling Brando’s shoes as she is commanding and stoic and like Brando, is a comforting presence in The Fortress Of Solitude. Moreover, Superman II offers further insights into the character of Lex Luthor with his desire just to be the ruler of Australia (and then later Cuba). He may be an egomaniac, but at least knows his limits; he can’t have the world but can happily make do with a continent. The TV cut of Superman II also interestingly features an interaction between Luthor and Jimmy Olson (Marc McClure), two characters that otherwise never encounter nor interact with each other at any other point in the series. I also adore how Superman refuses to look Luthor in the eye when speaking to him as he is that unamused by Luthor’s antics (probably in part since Hackman still got billed above Reeve in the opening credits). Other memorable characters from Superman II include Rocky (aka Mr Wonderful), the perfectly executed love-to-hate character, not to mention that kid from the redneck town who for some bizarre reason sounds like he’s from Victorian-era London.

The other aspect which makes Superman II so great is the romance between Lois and Clark. I was left so badly wanted to see these two get together, two down-to-earth souls who are too perfect a match for each other. Their interactions at the beginning of the film are so endearing as Lois almost mothers the clumsy and meek Clark, not to mention you can really feel the pain as Clark gets friend-zoned big time. Following Lois’ discovery that Clark is indeed Superman, Clark surrenders his powers as Superman to live as a mortal in order to be with Lois. This is followed by the two of them going all the way which I assume Clark would be unable to do as Superman as his superhuman strength would literally kill her (so am I to assume Superman gave up his powers just because he was that thirsty?). The crescendo to the Lois & Clark romance comes to ahead with easily the most emotionally powerful moment in the series, as following the restoration of Superman’s powers, the two try to comprehend continuing to professionally work together in the same vicinity despite their feelings for each other. Margot Kidder’s voice is so emotive and she has that Margaret Sullavan-like quality to her (at the film’s most intense romantic moments her tearful pleas kill me). This conflict is resolved by Clark giving Lois a memory-erasing kiss (another addition to the list of bizarre powers Superman uses once and never again alongside going back in time, repairing the Great Wall Of China with his laser eyes and the infamous cellophane S from earlier in the film). A conclusion like this could easily have come off as a cop-out but I will argue in its favour. Firstly, the manner in which he erases Lois’s mind is via the romantic gesture of a kiss is tonally consistent with the scene, and secondly, the sacrifice that is endured on the part of Clark. Lois can have her mind erased to forget the pain, but Clark is not offered that privilege, he must continue to remain stoic to carry the heartache. That said, with the status quo returned, another Superman adventure beckons, to which the beginning of the end credits to Superman II offers the viewer a tease:

Coming soon

“Superman III”

Superman: The Movie (1978)

It’s Free Real Estate

***This Review Contains Spoilers***

During the opening credits of Superman: The Movie, in gigantic blue neon letters which dramatically zoom out towards the screen is the name of screen legend Marlon Brando, whereas the name of the man who actually plays Superman doesn’t appear until after the main title. Brando is only in the movie for less than 20 minutes in the theatrical cut (more in the extended cut and TV version). This foreshadows the imperfect and flawed nature of the Christopher Reeve Superman films however I think of them along the lines of the Japanese concept of Wabi-sabi – beauty within imperfection. With the internal disagreements that occurred with the making of these films behind the scenes, this saga ended up becoming a “choose your own adventure” anthology. Regardless, it all goes back to the year zero of 1978 and Superman: The Movie.

Christopher Reeve will forever be the GOAT live-action representation of the all-American icon that is Superman. But Superman is a boring, overpowered superhero I hear a bunch of edgy, Zack Synder-worshipping 12-year-olds say – nonsense! Superman is a tragic figure, one who saves the lives of others but is unable to enjoy his own life or be with the woman he loves. In Superman: The Movie this tragedy is showcased right off the bat as the young Clark Kent in Smallville is forced to be a lowly waterboy rather than an all-star college athlete as he is upstaged by a group of jocks and denied his childhood sweetheart Lana Lang. Unlike the creatives of today in both film and print who are embarrassed by the Superman of the past, this is the Superman who unashamedly represents truth, justice and the American way. The aspirational hero, the loveable dork, the pure-of-heart-do-gooder who saves a cat from a tree, will pull back his shirt to reveal the iconic S and dawns the bright, popping, contrasting colours of the famous suit (complete with the trunks) and all conveyed with such un-ironic sincerity (I just wish they could have held off on the Cheerios product placement during such a poignant moment). With the lighthearted nature of these films and their lack of irony, they can get away with a certain degree with their suspension of disbelief, hence on Superman’s first night, he just happens to save Lois Lane and none other than The President Of The United States from near-certain death. You know, like you do in a normal night’s work.

The transformation between Superman and his alter-ego Clark Kent really showcases just what a superb actor the late Christopher Reeve was. The infamous glasses Clark uses as a disguise which no one is able to see through is easy fodder for satirists, but there is so much more to the illusion from his complete change in attitude, posture, voice and mannerisms. Clark wears tailored baggy clothes, parts his hair to a different side, looks frail, slouches, talks in a higher octave, acts clumsy and submissive (while pretending he has no street smarts). Likewise, assuming the film is set in its contemporary period of the 1970s, this Cary Grant-like Clark still dresses as if it is 1938. It is a fantastic sight to observe Reeve playing both personas in the same uncut shot inside Lois’ apartment in which he removes the glasses and speaks in a different voice, as right in front of the viewer’s very eyes, he turns into an entirely different man. Just as impressive is the chemistry Reeve shares with a very quirky and in many ways clumsy Lois Lane played by Margot Kidder, in which the two of them turn the lengthy flying scene with Superman and Lois into pure cinema magic. The sequence and the dreamlike music by John Williams has the beauty and sensuality of an Astaire-Rodgers dance number as it perfectly capturing the intimacy between mortal and immortal (I’m sure with this scene alone the film bagged the female demographic).

Gene Hackman as real-estate madman Lex Luthor provides much of the film’s comic relief with his many flattering comments about himself (“Doesn’t it give you kind of a shudder of electricity through you to be in the same room with me?”) as well as his witty insults against the comic foil that is Otis (even Luthor’s underground layer of an abandoned subway acts like a character in itself). The film’s other great source of comedy is the scenes in The Daily Planet which have that screwball comedy, His Girl Friday vibe. There is a specific electric energy that comes from that click-clack of typewriters and phones ringing (the age before PCs and laptops) to the fast and snappy dialogue from actors who share exceptional chemistry as they walk and talk (“Remember my expose on the sex and drug orgies in the senior citizens home”). Clark himself provides an entertaining contrast as the avatar of Middle America who uses phrases like “swell” against the backdrop of his city slicker urbanites. As far as the film’s other callbacks to vintage Americana, the film plays into the 50’s nostalgia craze of the ’70s (alongside American Graffiti, Happy Days, Grease and The Lords Of The Flatbush) but the film still remains a product of the 1970s (“Say Jim, that’s a bad OUTFIT!”) tapping into the 70’s disaster movie craze with the destruction of the Hollywood sign and the inclusion of several obvious but charming miniatures (complete with scores of tiny boulders). Even the film’s iconic tagline “You’ll Believe A Man Can Fly”, speaks to its era as nothing special effects-wise had ever been accomplished in prior ages.

In the 1978 TV special on the making of Superman: The Movie, behind-the-scenes footage shows Marlon Brando reading off cue cards when filming as well as reading from the script when he is not on screen. It’s a rather sad and sorry sight (this was into the era when Brando had lost his marbles), but in the finished product, Brando delivers the goods as Superman’s/Kal-El’s father Jor-El. Brando commands the scenes on Superman’s home planet Krypton with his every word and line being delivered with such commitment and integrity. Brando proves to be a comforting presence during the scenes in the Fortress Of Solitude as well as amid his narration throughout the sequence in which the audience is treated to an assortment of galactic images. With its Shakespearean tone and grand opening fanfare music, the scenes on Krypton really provide Superman: The Movie the aura of a Hollywood epic. Well, that and one of the greatest opening credits sequences in cinema, as each member of the cast and crew has their name appear in the form of those aforementioned giant blue neon letters in space accompanied by a hair-raising “swoosh” sound effect as their credit come across the screen (even with director Richard Donner’s name at the very end, the audio gets that extra oomph). Just how did they achieve that effect without the aid of CGI, tell you what, I’m happy not knowing. Above all, what completes the opening credits is none other than the music by cinema’s greatest composer, John Williams. For the first time in the character’s history, Superman has a musical representation, in which such hope and optimism are conveyed in musical form and a theme in which the main three-note musical motif actually speaks the name of the titular superhero.

The opening scenes on Krypton also set up the big bad for the sequel Superman II, General Zod (Terrence Stamp) and his two accomplices, Non (Jack O’Halloran) and Ursa (Sarah Douglas). This opening offers a taster of the greatness which is offered in the sequel with Terrence Stamp’s legendary, scenery-chewing performance as the Kryptonian traitor (“You will bow down before me! Both you, and then one day, your heirs!”). The giant faces in the high court and their pronouncements of “guilty!” as well as that floating square known as The Phantom Zone (often spoofed in pop culture) makes for unforgettable imagery. So what exactly are the trio being tried for? It’s not explained in any depth, but the film states Zod was attempting to start a revolution on Krypton to form a new order with himself as leader. Was there any justification for their goal? Krypton does appear to be a stale, conformist, authoritarian dystopia in which everyone dresses the same and Jor-El is even instructed not to leave Krypton with his family when he believes the planet will imminently self-destruct (hmmm, #ZodWasRight).

For a film series which is full of silly, bizarre or just downright dumb moments, it’s surprising that it’s the first and most grounded of these films which contains the most controversial moment in the entire Superman film franchise. I am indeed speaking of the infamous climax of Superman: The Movie in which Supes turns back time by altering the rotation of the Earth in order to prevent the death of Lois Lane (after he was only able to stop one of the two missiles Lex Luthor had rerouted), or at least this is what is commonly perceived. Is Superman actually flying faster than the speed of light to go back in time thus the reversed rotation of the Earth is a result of Superman going back in time rather than being the method of which he goes back in time? Superman is also subsequently shown to fly in the direction of the Earth’s rotation as if he is re-correcting the direction in which the planet should rotate, or did he simply overshoot by going too far into the past and had to go slightly correct himself time-wise? But then again, how does flying anti-clockwise make him go into the past and clockwise go into the future? Putting the obvious implications of real-world science to one side, the Back To The Future: Part II levels of paradox will not only make your head spin, the movie ultimately fails to make clear what Superman is actually doing.

Other questions raised by this deus ex-machina climax include:

-Why hasn’t he used this power before or since? If Superman can use time travel to fix any problem, then it makes any conflicts in subsequent movies irrelevant.

-If he can fly that fast then why couldn’t he stop both of the missiles?

-If he went to get the other missile and then save Lois after turning back time, that means there’s another Superman somewhere stopping the one other missile from before.

-If Superman is knowingly breaking Jor-El’s command that he doesn’t interfere with human history (“It is forbidden for you to interfere with human history”) and instead taking his Earth father’s advice (“One thing I know, son, and that is you are here for a reason”), then I can understand that this is a sign that he has chosen Earth over Krypton, why does he continue to consult the elders of Krypton in subsequent movies?

That said, I by no means dislike this ending as it’s not only fun discussing the merits of such a conclusion, it still works on an emotional level as you can feel Superman’s anger, heartache and pain over his failure to save Lois as he lets out a mighty scream and ascends towards a billow of storm clouds as the booming voice of Jor-El instructs him not to interfere with human history.

The 3-hour TV version of Superman: The Movie (first broadcast in 1982 on ABC) contains an extra 37 minutes than the extended cut, which was released by Warner Bros for the first time on home video and in the film’s original aspect ratio for the film’s 40^th anniversary in 2018. I did have some scepticism going into this version suspecting it would make the film too long and bloated, however, I am pleased to report this version is my definitive cut of Superman: The Movie. Please forgive me Mr. Donner that I keep preferring the unapproved versions of your Superman films (the Blu-ray contains an opening prologue stating this version does not represent the director’s vision).

So what goodies does this 3-hour long cut offer? Firstly, it offers another moment with the Phantom Zone as it whizzes past baby Superman’s pod. A nice reminder that these guys from the start of the film will come back later not to mention, any more footage of Terrence Stamp as Zod is much appreciated. In this cut, it is also revealed the little girl on the train who saw Clark running in Smallville was none-other than Lois Lane herself, to which I had the reaction of “say what?!”. The scene itself is nonsensical as since when do parents refer to their children by their full name in casual conversation? It is also a bit of a cheap shot to illicit a reaction from the audience but it did work on me so I’ll let them away with this one. It would however have been a more clever move to imply the character was Lois rather than outright stating it, creating a bit of mystery for the viewer. One fantastic addition however is that of Superman speaking to Jor-El in the Fortress Of Solitude after his first night of crime-fighting and speaking of his guilty feelings for having enjoyed the experience (“do not punish yourself you your feelings of vanity, simply learn to control them”). This scene further highlights Superman’s vulnerability and makes this characterization more human – powerful stuff!

Correspondingly, the sequence in which Superman attempts to enter Luthor’s layer but has to make his way through hoards of gun bullets and sub-zero temperatures doesn’t make sense as Luthor is aware that kryptonite is his only weakness but does prove to be a fun sequence despite this obvious plot hole. However speaking of extra scenes involving Lex, my favourite addition to the TV version would have to be that of Luthor’s babies, a collection of big cats which are never seen on screen but only heard with an amalgamation of various big cat growls. These cats strike fear into the heart of Otis as Luthor in a very sinister manner asks him “Otis, did you feed the babies?”. This scene makes Lex all the more sinister and explores the mad-scientist aspect of his character, as well as tying into an additional scene at the film’s end in which we actually discover the fate of Luthor’s accomplice Miss Teschmacher. My only complaint with this version of Superman: The Movie is the dial downed sound effects in the audio mix for the opening credits. That said, I am now waiting for restored versions TV versions of Superman II and III (and an extended cut of IV). Come on Warner Bros, chop chop!

I get that people are very sentimental towards director Richard Donner although I’ve never been a huge fan of his work. Lethal Weapon was never my scene and I don’t like The Goonies. I also really dislike The Richard Donner cut of Superman II (but more on that for another day). Regardless, personally for me Superman: The Movie is by far his best film in my estimation. However, my biggest complaint with Superman: The Movie (as solid as it is) is Superman II. The sequel does everything the first movie did but better. One thing which is lacking from the first movie is an adversary for Superman to engage in combat with (which Superman II has in plentiful supply) not to mention the sequel has much more internal character-driven conflict. With that said, the adventure continues…

The Electric Horseman (1979)

Now I’ll Choose Your Outfit. Robert Redford in Electric Horseman

***This Review Contains Spoilers***

The Electric Horseman is a very old fashioned movie for the 1970s; Its a return to the type of movie made during Hollywood’s more innocent days and could have easily been a vehicle for an actor like Gary Cooper. There’s something about the movie that’s just very wholesome to it from the absence of sex, bad language and the innocent nature from the “that would never happen in real life” plot which hits all the emotional beats. A movie in which you’re rooting for a horse is going to have something inherently innocent about it. Even the opening shot of a running horse is very similar to the opening shot of Sydney Pollack’s earlier film They Shoot Horses Don’t They but they are, tonally, completely different.

The opening montage catalogues the story of rodeo star Sonny Steele (Robert Redford); a rise and fall story which echoes Walter Matthau’s final words in A Face in the Crowd. Sonny, a once legitimate figure is now nothing more than a mascot for a product he doesn’t even use. He is trapped in a world of corporate superficiality; no surprise then that the movie is set in Las Vegas of all places. Even the villains of The Electric Horseman are two dimensional, slimy businessmen who don’t have an ounce of empathy. They are about as cliché as it gets but in an enjoyable love-to-hate way.

Sonny’s horse Rising Star is a metaphor for Sonny himself; the horse’s story is essentially Sonny’s. When he talks about what the horse has been through and its desire to be free, he is talking about himself – A former champion who is leading a pampered life and has become no more than a corporate icon. It’s clear that Sonny has no sex or family, as evident from his recent divorcee just like how Rising Star has been sedated by drugs. Sonny is left with no choice but to try and break free from this existence and set Rising Star (and metaphorically himself) free because anything’s better than the living hell he is currently experiencing.

Jane Fonda’s role as Hallie is a throwback to the fast-talking, Hildy Johnson like news reporter. I also have to question if Fonda’s hairstyle and glasses had any inspiration on the look of the titular character in Sydney Pollack’s Tootsie three years later. The scenes between Redford and Fonda alone in the wilderness are reminiscent of classic screwball comedy in the age-old classic “they hate each other but love in love” scenario. Likewise one of my favourite scenes in the film involves Sonny giving passionate monologue to Hallie about the horses’ mistreatment unaware he’s being recorded. Once he thinks the recording has started he has nothing interesting to say (“He’s one of the great animals…in the history…of animals”). A lesson to filmmakers of any stripe really.

I also imagine the inclusion of Dave Grusin’s Disco Magic probably didn’t help the move when it came out in December 1979; six months after the Disco Demolition Night. However, The Electric Horseman is part of Hollywood’s urban cowboy phase the late ’70s and early ’80s. This oxymoronic combination does give the film one of the most unique action sequences I’ve ever seen as Sonny rides his horse against an onslaught of police cars and motorcycles through a small town (I’d like to see this in Grand Theft Auto).

The ending in which Sonny releases Rising Star into the wild is ridiculous. How long would a champion racehorse survive in the wilderness? It would probably die of starvation and loneliness and certainly not be immediately accepted by a wild herd. But at the end of the day, it still strikes an emotional heartbeat.