RUTHERFORD ON FILM: Look, Up In the Sky: It’s ‘Superman’ Now and ‘Marshall’ in October; Legendary Pictures Successfully Revives American Icon
By Tony RutherfordHuntington News Network Writer
Huntington, WV (HNN) -- Does the world need a pure-hearted hero who is more powerful than a locomotive and able to leap tall buildings in a single bound?
Since Superman’s last big screen appearance in 1987, the world has endured the 9/11 attacks, a killer tsunami, and extraordinary natural disasters. In fact, you might say that during his nearly twenty-year absence, the globe has witnessed the break up of the Soviet Union which effectively ended the Cold War and the nuclear arms race, which “Superman IV: The Quest for Peace” crusaded. Unfortunately, mutually assured destruction of nations with nuclear arms has evolved into an expanding “club” of nations with their fingers on nuclear power.
With Earth facing unpredictable terrorist hostilities, undeclared wars, and climatic uproars, the re-introduction of Mr. Red, White and Blue could not be better timed. Superman offers hope for wary men and women, boys and girls. He’s also the Mr. Clean of role models, where actors and athletes have all but tarnished the image.
Flying back onto the radar, “Superman Returns” both cinematically and story wise from an outer space ‘finding himself’ expedition in an attempt to uncover puzzles to his Krypton past. For the record, he flew off to investigate astronomers’ sightings of remnants of his home planet; five earth years have passed when the story begins.
The mostly invulnerable superhero finds that his adopted planet (and his friends) has changed, including his awkward love interest Lois Lane (Kate Bosworth) and arch villain Lex Luthor (Kevin Spacey). So, too, the Man of Steel now has abandoned a tough, show no emotions macho kind of guy; he’s more human more like the arsenal of characters that populated Stan Lee’s Marvel (Spiderman, Fantastic Four) Universe.
Director Bryan Singer has previously helmed “X Men” flicks, so he’s no stranger to injecting frailties into a hero’s persona. (Rumor has it that McG turned down the director’s nod, then, took the reins of Legendary’s locally inspired sports film… need I say its title?)
Brandon Routh (Clark Kent/Superman) gracefully replaces Christopher Reeve, although their smooth, calming vocal inflections do appear similar. But Routh’s character has an emotional angst from his opening leaps and bounds across barns and windmills in the corn filled heartland. Once he re-enters Metropolis he immediately once again finds adoration after rescuing astronauts, pilots, and press from a space shuttle launch gone array by Luthor’s meddling. He simply safely launches the shuttle, lands the plane (on an All-American baseball field), and shows them perfect pearly whites.
(And, yes, his face does occasionally resemble a plastic plaster cast particularly when he’s grunting and pushing with all of his super strength).
Routh has the benefit of an exceptional screenplay by “X-Men 2” writers Dan Harris and Michael Dougherty which astutely maneuvers the deft interpersonal moments, incredible action, and amazing production design.
Confronted with his flame Lois with a new beau (James Marsden) and a child (Tristan Lake Leabu), Superman the mortal must deal with appeasing a woman’s scorn for his five-year disappearance without a suitable good-bye. This Superman lands on the roof of the Daily Planet as Lois prepares to smoke a cigarette. He goes to the heart of the matter. Asking Miss Lane to take a flight with him, she hesitates then melts as easily as a candle.
Bosworth has a complicated modern woman role, more complex by her unspoken love for a superhero. Like most members of the opposite sex, her words and actions often send mixed signals. For example, after saying ‘no’ to a ride in the sky, she rubs up to the hero hunk, kicks off her black pumps, and stands on her bare tiptoes to reach his mouth, using his feet for a stool.
Without uttering a spoiler, let’s say that those high heels and bare toes symbolically take on phallic representations as the closest the pair touch in a physically romantic way.
Interestingly, the ‘moral’ aspects of Superman have undergone a 21st Century adjustment, too. Aside from Lois Lane’s smoking, Jimmy Olson (Sam Huntington) and Clark Kent have a beer in a bar served by Jack Larson (Olson in the black and white 50’s TV series), Lane is living with her long time beau, and raising a child without having first walked down an aisle. By contrast, Kellogg’s -- the 1950’s TV sponsor of the series with George Reeves -- would not even let Miss Lane do a breakfast commercial with the males for fear of an inferring moral malaise.
A new beginning requires a spectacular send-off, so Superman’s battle with Lex has the lives of billions at stake. Since Krypton mastered the art of manipulating crystals for the good, bald Luthor has them reshaping the planet allowing for detailed and perilous special effects ranging from intricate seismic alterations to slow-motion bullets bouncing off Superman’s eye.
And, the dark, moody, intricate production design runs the gauntlet from dank, jabbing rocks to a model train set from hobbyist heaven, and the glassy, cold, reflective Fortress of Solitude.
Finally, the dialogue may have only one “great Caesar’s ghost,” but it does reflect raspy wisecracking idioms. Luthor avoided prison because Supey skipped out on a court appearance and failed to read Miranda rights, Lois confronts “Perry White shoving Superman back into my life” and the Man of Steel reminds everyone (after rescuing their doom flight) that “flying is the safest way to travel.”
And, “Superman Returns” carries an appropriately titled secondary credit for “Legendary Pictures,” which in actually is an “in house” Warner Bros. production company. By glancing at the credits, though, you will note at least two semi-familiar names --Thomas Tull and William Fay. Both were also executive producers on Legendary Pictures upcoming, “We Are Marshall.”
After seeing Superman resurrected and in good cinematic health once again, I feel that the tragic and inspirational sports release rests in the talents of legends of the silver screen. In fact, “We Are Marshall’s” trailer (i.e. coming attraction commercial for those with non-movie lingo minds) will be on the front of Legendary next co-production with Warners, “Lady in the Water,” due July 21.