1978: SUPERMAN

What’s it about?

Alien councilman Marlon Brando sends his infant son into space in a flying crystal bassinet ahead of a catastrophe that rips his home planet of Krypton to pieces. After landing on Earth, the now pre-pubescent boy is adopted by good-hearted farmer Glenn Ford, who raises him as a human despite unmistakable alien attributes like super strength, super speed, and a punt that even a place-kicking mule couldn’t beat. But Ford’s death sends the grown boy on a vision quest to the Arctic, where a shard of his alien craft raises a crystalline palace that allows Brando to impart the wisdom of Krypton to his son.

The “super man” alien (now played by Christopher Reeve) returns to civilization and takes a job as a reporter in the big city of Metropolis. He takes a liking to ambitious co-worker Margot Kidder, and soon finds occasion to save her from peril both in his human guise and as a costumed do-gooder who flies around the city righting wrongs. But the stakes become immeasurably higher when criminal mastermind Gene Hackman hi-jacks a couple of nuclear weapons and puts Reeve’s powers to the test in a plot to make a fortune in real estate by shifting the west coast of the United States inland to Nevada.

Is it any good?

As a kid in the 1980s who didn’t read comic books, my superhero horizon was more or less limited to five characters: Spider-Man, Batman, Wonder Woman, the Incredible Hulk, and Superman. Or, to put it another way, the only ones who had managed to penetrate popular culture in the form of television shows or cartoons. And until Tim Burton’s BATMAN was released in 1989, none of those five except Superman had managed to find any movie success to speak of. (Trivia question: After SUPERMAN and BATMAN, what was the third superhero comic to become a mainstream blockbuster movie in the U.S.? Why, TEENAGE MUTANT NINJA TURTLES, of course.)

Prior to this decade, superheroes had a hard time translating to the silver screen consistently. Even the SUPERMAN and BATMAN franchises both self-destructed after four installments, and SUPERMAN IV: THE QUEST FOR PEACE (1987) and BATMAN AND ROBIN (1997) became like death's head totems, warning movie producers of the eventual fate of all superhero franchises, even popular and critically acclaimed ones.

For the first forty-five minutes of SUPERMAN, I was prepared to say that Richard Donner had caught lightning in a bottle and somehow side-stepped every problem that had doomed most other superhero movies for the next twenty years. The final two-thirds of the movie aren’t up to the level of the quality of the beginning, unfortunately -- and they do have some of the usual problems -- but overall the movie is still pretty good.

Those amazing forty-five minutes cover the first paragraph of the synopsis above. It’s everything that involves the destruction of Krypton, the journey of Kal-El to Earth, his childhood with the Kents, and his education in the Fortress of Solitude before he properly becomes Superman. These forty-five minutes all also take place before Christopher Reeve appears on screen (the young Superman is played by a different actor, but voiced by Reeve) so I’d like to make it clear that I don’t think that’s the reason for the difference. Instead, I think it’s because the first third of the movie feels suitably epic and legendary, whereas the last two-thirds lose a lot of that. But before I get into that too much, I should probably give a little bit of context and explain why Superman is my favorite superhero.

I know that Batman is the cool one and that Spider-Man is the relatable one, but neither one of those guys really does much for me these days. I liked Spider-Man a lot as a kid, but I suspect that it was mostly because he was funny and he was everywhere. It was impossible to escape Spider-Man in the mid-1980s. He even showed up on educational TV shows. Superman, however, is an icon. He’s an immovable object -- with seemingly infinite reserves of both physical and moral strength.

I know that this is precisely the usual criticism of Superman -- he’s boring because he always wins and because he’s always good. But to me, he is a character who is tightly bound by his own mythology. He has absolute power, but because of his code of behavior, he’s not free to exercise it any way he wishes. In the movie particularly we learn that because Superman never lies, he feels irrevocably bound by promises even when they are made under duress. There is no one enforcing this code of conduct except himself -- and indeed, nobody could enforce it even if he did break his word. Superman simply stands for right, so he must act “right” even when that means allowing his loved ones to be endangered.

So as far as I’m concerned, Superman is a character in an Edith Wharton or Henry James novel -- a person of considerable vision and activity who is nonetheless bound by societal rules and expectations that have no actual governing body. Like Jolyon Forsyte in John Galsworthy’s novel, he is a “man of property” -- a man who must always do the proper thing simply because that is what is done. He’s a tragic hero, whose potential for happiness is strictly circumscribed by his own sense of what is the “right thing” to do in the situations he finds himself in.

As I said before, I don’t read comic books, so I’m not sure how much of this reading of Superman is supported by the actual source material and how much of it I am projecting into it because my mind is so infected by Edwardian literature that I can’t even watch a movie about an invincible man in a red cape without thinking of THE AGE OF INNOCENCE. What I can say is that Richard Donner’s SUPERMAN does offer at least some weak support for this reading -- especially in the early sections. Kal-El’s father on Krypton is excited that his son will be superpowered on Earth, but his mother laments that her son will be alone among the humans with no one to understand him. Later, Pa Kent cautions him to keep his true self hidden from the world and to present himself in the “expected” way. And the very notion of a Fortress of Solitude in the icy fastness of the Arctic is unavoidably symbolic of social isolation and repression.

The early stages of Superman’s life also mirror closely the story of Moses -- another man who, according to the Bible, was held to a such an impossibly high standard of conduct that he was barred from the promised land he had been seeking for forty years because he struck a rock twice when once was sufficient. Both Superman and Moses are placed as infants in baskets and sent out alone into the world. Both are raised by families that are not their own, and both find they have a calling which separates them from their adopted families. But once they start working miracles, the parallels largely cease -- at least in this movie.

Moses’s foil was the Pharaoh of Egypt who held an entire nation in bondage. Superman’s foil is Lex Luthor, whose criminal operations in this movie (though very ambitious) are weirdly understaffed and annoyingly implausible. Even worse, Hackman doesn’t have the gravitas to pull off a villain worthy of a modern-day Moses. Marlon Brando and Glenn Ford lend their own legendary screen personas to the early scenes of Superman’s formation. Hackman is a fine actor, of course, but he is not an immovable object in the same way that Superman is. It’s easy to imagine Hackman’s Lex Luthor bending like a reed, slipping away, and living to scheme another day. You might argue that his slipperiness makes him all the more fitting a foil -- but an epic foe he certainly is not. This Lex Luthor would never have defied anybody through a single plague, let alone ten. The Pharoah may have been doomed to crack in the face of God -- the ultimate immovable object -- but at least he gave it a good run.

The last two-thirds of SUPERMAN are not horrible or irredeemable. There are certainly dumb moments -- some silly slapstick, some implausible wackiness during Luthor’s capers, and the inexplicable way that Lois Lane falls in love with the Man of Steel. But the flying sequences are justly famous for their special effects. (Though I did forget about the weird poetic narration delivered by Margot Kidder starting with the phrase, “Can you read my mind?”) The action sequences are pretty cool too, and I have always liked Christopher Reeves as both Clark Kent and Superman -- though, in retrospect, there is surprisingly little Clark Kent in this movie. Still, Superman’s calm and slightly geeky Boy Scout demeanor (e.g., “I hope this hasn’t put you off flying. Statistically speaking, it’s still the safest way to travel.”) is appealing enough. My fondness for Superman probably predisposes me to like this movie. I’m disappointed that the epic feeling of the beginning eventually devolves into Lex Luthor’s Funtime Follies in places, but SUPERMAN is still quite possibly one the best superhero movies I have ever seen.

Also, I’m not going to write a separate entry about SUPERMAN II (1980), but I’ll say a little bit about it right now. I’d seen it ages ago, of course, but I wasn’t sure I wanted to watch it again after reading a bit about the behind-the-scenes turmoil that dogged the production. Director Richard Donner was replaced partway through by Richard Lester, purportedly because he refused to increase the campiness of the movie to the level the producers wanted. Gene Hackman and Marlon Brando then refused to do any reshoots with the new director, which resulted in a reduced role for Lex Luthor and no role at all for Jor-El. Some of the other actors -- such as Margot Kidder -- were less than cooperative with the new director.

But honestly, I almost think I like SUPERMAN II better than the original. It’s true that it has some goofy humor, but no more than Richard Donner’s original SUPERMAN did. (And frankly, the jokes are funnier in the sequel.) Gene Hackman’s Lex Luthor is no longer the main villain, and is in fact reduced to playing the weaselly informant to Terence Stamp’s General Zod. This is a role that is much more in line with how Hackman plays Luthor, and General Zod is the kind of “immovable object” that I was looking for in a bad guy in the last movie.

There are also many more scenes highlighting the friction between Superman’s two identities and the two parallel relationships he has with Lois Lane. I’m a big fan of this stuff, and it makes sense that ace reporter Lois Lane would eventually figure out Clark Kent’s true identity. There probably aren’t a lot of really good stories you can do with a completely invincible guy, but “girl he loves finds out his true identity” is a pretty good one. So is "three equally powerful guys show up and they aren't nice". And so is "invincible guy gives up superpowers for the girl he loves". SUPERMAN II entwines all of those storylines in an organic way, so the stakes keep going up and up. I will admit that the way Superman gets his powers back is a little cheap, but not nearly as cheap as the ending of SUPERMAN when he reverses time itself to save Lois Lane.

Finally, as much as I love the epic beginning of SUPERMAN, it’s undeniably slow and at odds with the tone of the rest of the movie. If the whole movie had been like that, I probably would have loved it. But switching partway through to a totally different tone is jarring. SUPERMAN II doesn’t have any such problems -- it starts fast and light, and keeps going that way for its entire length. It’s also suspenseful and exciting when it needs to be, and the climactic fight takes us to locations that are integral to the story -- like Metropolis and the Fortress of Solitude -- rather than some nameless desert in California.

So yeah, I actually like SUPERMAN II better than SUPERMAN. I probably should have written about that one instead. Sorry, Richard Donner. Sorry, everybody else.

1964: ROBINSON CRUSOE ON MARS

What’s it about?

An errant meteor forces a spaceship orbiting Mars into evasive maneuvers that bring it dangerously close to the red planet’s surface. Unable to pull out of the descent, the crew eject in two separate escape pods, but only one astronaut and one monkey survive the landing. On the surface, the astronaut faces a quick succession of life-or-death challenges: staying warm during the cold Martian nights, replenishing his fast-dwindling air supply, and discovering a source of water and food.

Assisted by a healthy dose of dumb luck, the astronaut manages to solve most of the problems of basic survival. But he soon realizes that his biggest challenge will be reconciling himself to the possibility that he will be stranded forever alone on a dead planet with no companion except the monkey. Just as he is starting to crack under the strain of isolation, he discovers evidence that he may not so entirely alone as he imagined. The sudden arrival of a runaway alien slave provides the astronaut with the companionship he seeks -- but differences in cultures and the return of the alien captors create unexpected problems.




Is it any good?

A movie about an astronaut struggling to survive on the real Mars would be short, grim, and all too predictable. But luckily for ROBINSON CRUSOE ON MARS, there were very few hard facts known about conditions on the surface of Mars back in 1964. So even though the astronaut and his monkey have things pretty rough, they at least have a fighting chance to survive. Nights are cold, but not instantly deadly. Air is thin, but can be breathed for fifteen minutes at a time. Water and edible plant life are scarce, but not entirely absent.

But even though the first half of the movie is devoted to the question of basic survival, this is not really a movie about a man overcoming a hostile environment on his ingenuity alone. The astronaut does use his brain to solve a few problems, but the deciding factor is really that the bare necessities of life are all available right at hand. Most convenient of all, an apparently very common yellow rock not only burns like coal (providing heat for those freezing nights) but releases life-saving oxygen in the process. Meanwhile, water and food are not necessarily easy to find, but a smarter man would have figured out the key to locating them after just a couple days on the surface.




But for better or for worse, there’s more to the movie than a simple survival story. In the second half, the astronaut discovers that alien visitors use disposable slave labor to extract minerals from Mars. One such slave escapes, joins up with the astronaut, and becomes a sort of “man Friday” for the space age. It’s a little hard to figure out exactly what the movie is trying to say about the Friday character. He looks, dresses, and talks like an American Indian (though his hairstyle is ancient Egyptian) and has practically no alien characteristics despite hailing from a different star system. It briefly seems as though the escaped slave is not going to be satisfied meekly playing the Friday role -- he remains perfectly mute and aloof for days, then refuses to respond to the astronaut’s attempts to teach him English or to give him a new name. But before long he’s caved on all fronts and is speaking broken English and responding to the name Friday.

The survival bits at the beginning of ROBINSON CRUSOE ON MARS are pretty good, and even the arrival of the modern Friday turns out to be more interesting than expected. But the end of the movie takes a sharp turn towards the silly and the predictable when the aliens come looking for the fugitive slave. (Why? The slaves are disposable anyway -- why care if one survives instead of dying with the rest?) The alien spaceships do a lot of really boring blasting of the Martian surface, and the two friends do some slightly less boring fleeing to the north pole. But up to the last twenty minutes or so, the movie is really pretty interesting. And it’s worth noting that Adam West and his amazing voice have an all-too-brief role early in the picture as well.




What else happened this year?

-- THE FIRST MEN IN THE MOON is one of the better movies to feature Ray Harryhausen’s stop-motion special effects. Besides awesome alien monsters, it also delivers much of the same humor and excitement that the H.G. Wells novel does.
-- No one really ever needs to see SANTA CLAUS CONQUERS THE MARTIANS, but a snowy December evening could be worse spent. It obviously requires a high tolerance (and preferably affection) for low budget film making, but it has enough weirdness to please. The only missed opportunity is a climactic robot/polar bear fight that is teased but never materializes.
-- HERCULES AGAINST THE MOONMEN delivers both the ancient Greek strongman and several different monstrous bad guys (some, as promised, from the moon). It’s diverting enough as long as you ignore the usual shortcomings.

If you only watch one sci-fi movie from 1964...

This was a weak year for sci-fi flicks -- thus the pathetic list above -- but THE FIRST MEN IN THE MOON is really pretty great.

BONUS BLOG -- 1959: THE WORLD, THE FLESH AND THE DEVIL

What’s it about?

Coal miner Harry Belafonte is trapped when the shaft he’s inspecting caves in, and five days later help still hasn’t arrived. He manages to dig himself out, but upon emerging on the surface he finds an apparently empty world. Driving to New York City, he sees the same emptiness everywhere -- abandoned cars jam the Brooklyn Bridge and the Lincoln Tunnel, but otherwise there is no sign of any people or what happened to them. Eventually he learns that a poisonous radioactive dust was released into the Earth’s atmosphere during a quick-brewing nuclear war. It engulfed the planet and killed everything within days (including most animals and plants) but then decayed into harmlessness in the five days before he surfaced.

The lone survivor sets up base in an apartment building in New York -- hooking up a generator, collecting food, searching for other survivors via shortwave radio, and rescuing books and pieces of art from the crumbling city. Unlike most last men on Earth, this one doesn’t have any zombies or mutants or even feral animals to deal with. He is literally alone (except for a couple of mannequins) until two other survivors also arrive. First a woman and then another man show up in New York, and they form an uneasy community where racial and sexual conflicts whirl just below the surface until they erupt into a final confrontation.


Illustration copyright 2009 Dennis J. Reinmueller


Is it any good?

Unfortunately, I watched this in probably the worst possible venue to see any movie. It was playing near the end of a 24-hour science fiction marathon, and even though I showed on purpose to see this particular movie, most of the rest of the audience were exhausted after an all night/all day vigil and could have cared less about some forgotten movie from the fifties about the end of the world. It’s a bit difficult to assess the quality of a movie that was continuously interrupted by snide comments and snores, but overall I thought it was pretty well done. It’s much more of a B-picture than ON THE BEACH, but this one is also more interested in the speculative aspects of the end of the world.

Regarding the apocalypse itself, a lot of seemingly important details are glossed over or ignored entirely. For instance, Harry Belafonte never encounters a single corpse and it’s never explained where they are all supposed to have gone. (Presumably the MPAA censors picked them all up -- yet 1960's THE LAST MAN ON EARTH is another end-of-the-world picture from just one year later that is rife with dead bodies.) It’s also not clear exactly how much of the Earth’s wildlife has been killed. Characters are ecstatic that a couple of tree branches still have enough life to blossom, but a very obvious flock of birds passes without any comment in another scene. But if you’re able to ignore all the hanging whys and hows concerning the nuclear attack itself, the movie does become a pretty gripping tale of lone survivors in a dead world. Harry Belafonte spends a lot of time by himself in the Big Apple, dealing with loneliness. (There are some neat shots of an abandoned Times Square here, just barely preempting I AM LEGEND by a mere fifty years.) Likewise, the relationship between the man and the woman is developed slowly -- and they just seem to be getting comfortable with each other when the third survivor shows up and introduces an entirely new dynamic.

Much of the first two-thirds of the movie does feel a bit familiar since it’s territory that’s been gone over so many times since 1959 -- but that’s no fault of THE WORLD, THE FLESH AND THE DEVIL. But one interesting wrinkle (and part of the point of the movie) is the racial element. Harry Belafonte is black and the other two survivors are both white. Even when Harry Belafonte and the woman are seemingly completely alone in the world, they still share an uneasy understanding that they won’t be repopulating the world together any time soon, even though they are attracted to each other. This is frustrating to a modern viewer, but the characters seem unsure what the rules of the new world will be when other survivors eventually show up. And frustrating or not, it does point out how deeply some conventions can be ingrained in people. It is in fact the arrival of the white man that forces them to honestly face their feelings. The rapid descent of the two men into competitiveness and then violence is fairly predictable, but it’s never totally clear how things will resolve themselves until the final shot of the movie.