646f9e108c An alien orphan is sent from his dying planet to Earth, where he grows up to become his adoptive home's first and greatest superhero.
Surviving the destruction of the planet Krypton, young Kal-El is sent by his father Jor-El to live among mankind on Earth. Under the parenting of Jonathan and Martha Kent, Clark Kent discovers that he was born with extraordinary powers and abilities beyond imagination. Now living in Metropolis, Clark takes up a job as a reporter for the Daily Planet and starts to fall head over heals for fellow reporter Lois Lane. But then Clark is also using his powers to help the better of mankind as Superman, who the people of Metropolis start turning to for help. But in the shadows, criminal genius Lex Luthor launches a sinister plan to make himself known by detonating two missiles in different parts of the country with only Superman to oppose him. Will Superman save us? Or will Luthor's plan succeed?
Some observers have credited, or blamed, 1977's "Star Wars" for inaugurating the era of the big-budget blockbuster, but 1978's "Superman" may be the real culprit. Like most of today's box office hits, but unlike "Star Wars", the Superman universe did not originate on screen but in another medium. The movie thus had a ready-made audience, namely comic book readers, and aimed to expand and diversify the property's fanbase through the casting of superstars with wide crossover appeal like Marlon Brando and Gene Hackman. "Star Wars" was inspired by out-of-fashion serials and adventures, but was an original, written-for-the-screen property and therefore a bigger risk. It was made by people who were largely unknown at the time, whereas "Superman" was always going to be the product of Hollywood's best and brightest. Its budget was $55 million compared to "Star Wars"'s $11 million. "Star Wars", at least originally, had a ratio of heart to glitz that was the opposite of what the term "blockbuster" generally implies, and is the opposite of "Superman"'s mix. It's not that "Superman" doesn't have some heart, but when it tries for emotion it usually lands wide of the mark. The most romantic scene in the movie, Lois' flight with Superman, is turned into something thoroughly laughable by a stupendously bad voice-over poem titled "Can You Read My Mind?" The spaceflight scene at the Fortress of Solitude in which the young Clark Kent learns about the universe from his father is affecting, but it is its myth-building and imaginative qualities that make it so rather than any chemistry between Jor-El and Kal-El. All of "Superman"'s characters seem to stay at arm's length from each other. The camera keeps us at a distance too, preferring wide shots over closeups, perhaps to make the characters seem statuesque and larger than life. All of this may not make "Superman" a great piece of character-driven cinema even to the limited extent that "Star Wars" is, but it does help to make it a broadly-appealing blockbuster in the action/sci-fi/superhero vein. Today's glut of superhero movies, YA literature adaptations, and sequels to previous hits may well owe more to the risk-averse, highly-manufactured "Superman" than to "Star Wars."
The reason why I revisited this is because I haven&#39;t seen this movie since I was around 10, maybe 11 years old after Superman Returns hit theaters. Being the first thing to portray superheroes as anything other then punches and kicks, I admire this movie way more then I like it. Personally, this is just me but over time Superman 2 just ages better then the first as a comic book movie.<br/><br/>The movie opens with Jor-El (Marlon Brando) trying to convince people of Krypton&#39;s destruction but everyone just sees him as the crackpot with those &quot;The End Is Nigh&quot; signs on them. Convinced, but unable to leave because the government said so - he decides to send his one and only son to Earth with the intent of blending in with the citizens. While we see Superman grow up to become Superman and begin saving people, that kind of thing - a criminal mastermind named Lex Luthor begins hatching a plot to create the crime of the century.<br/><br/>Basically I have three problems with this movie. I am a nitpicker, so when I see something like Superman&#39;s disguise as Clark - even acting completely differently, it just takes me out of the whole thing seeing people get fooled by it. I&#39;d also say that the turning back time scene is just ludicrous on two levels - firstly, he does this by spinning around the Earth - Okay, how in the hell does that work? That and a line of dialogue is thrown that Superman can&#39;t stop 2 missiles from hitting both coasts of America and when Superman tries this anyway, he FAILS. If he can turn back time with his speed then catching up to the missiles and disposing of them is easy street.<br/><br/>The last complaint I&#39;m throwing at this movie is probably one as a modern audience. It&#39;s slow paced. It takes more then an hour for Superman to show up (and no I&#39;m not counting those couple of seconds where he flies to the camera, 45 minutes in). I mean things like that scene where Lois and Clark get mugged was questionable at best of if it was really necessary to see.<br/><br/>Okay, now I&#39;m going to say what I liked about this movie. Well, some of the comedy when Superman reveals himself and starts saving people is actually funny, and balanced out - It&#39;s not forced though. I think the effects really hold up (for the most part) and I can see the risk going in of having the director of The Omen and the writer of The Godfather attempt a superhero movie. The actors do good jobs and I agree in saying that Christopher Reeve is the definitive Superman.<br/><br/>This today should be seen as a time capsule to say that this was the precautions they felt necessary to make a comic book movie which is all the rage now. It still holds up in most regards in the sense that the drama is still there after 37 years. I just think that there are just a couple of things that stop this movie from being as good as some of the later examples of the genre and for that I respect this movie more then I do like it.
The film burdens itself with too many story lines and an overlong (though beautifully photographed) prologue, but things really get moving when Reeve takes the screen.
The movie Superman (1978) located the fictional U.S. town where the baby Kal-El was found and raised by Jonathan and Martha Kent in the state of Kansas. This tradition has carried through into subsequent Superman comic-book stories, animation, and television series. Earlier comics however placed Smallville in the north-eastern United States, somewhere near the eastern seaboard. Also, some comics-related sources in the 1970s and &#39;80s placed Smallville in the state of Maryland. In the TV series Smallville, Smallville has been established as being located in the state of Kansas and also close enough to Metropolis that on clear days, one can view it in the distance. Metropolis is a fictional port city located somewhere on the eastern seaboard of the U.S. Where exactly varies depending on the source. The four superman movies made in 1978, 1980, 1983, and 1987 staring Christopher Reeve, do not specify its location, but based on the existence of various real-life landmarks such as the Statue of Liberty, it must be a stand-in for New York City. In the DC Universe, it is considered to be in New York State (which also is said to be geographically larger than its real-life counterpart). Some sources had previously placed Metropolis on the shore of Delaware Bay in the state of Delaware, across from Gotham City (from the Batman universe). However, this has been superseded by more recent continuity. In the latest Superman movie, Superman Returns, when Lex Luthor unveils his plan on a series of maps, Metropolis can be seen located on a Northeastern U.S. map exactly where New York City would be. (Also, on a side note, Long Island is not present at all.) In the TV series Smallville, Metropolis must be located either in Kansas, or close by in a neighboring state, as the show has established that (1) Smallville is in Kansas and that (2) Metropolis can be seen from town on clear days in the distance. At this point in Clark Kent&#39;s life, he has not yet fully developed, super-power wise. He has varying degrees of some of his powers, while others not at all, including the ability to fly. That is why he runs super fast home, instead of simply flying. The effect was achieved by dangling the actor just above the ground with wires, and having a fast moving rig pull him across the intended path. In some shots, it was clearly blue-screened though. Once he turned back time, he then had the time to stop Lex Luthor&#39;s guided missles, and in effect, prevented the earthquakes, etc. The controversy surrounding the time-reversal theme of the movie has been a discussion point since the film came out. Most viewers see it as a cheat, others see it as a ridiculous way for Superman to save Lois. Either way, Richard Donner has commented very little on his choice to include it. We have to assume that, although he turned back time to a point before the dam really breaking through (as is clearly seen being reversed), he did not take it back further than that, to before the explosion (crucially, we do not see that being reversed). Presumably, he is only prepared to defy Jor-El&#39;s warnings to a certain extent, otherwise why not reverse the whole thing and save all those killed in the nuclear blast and quake, messing seriously with &quot;Earth history&quot;? So, he simply had a little bit more time, which he used to save Jimmy a bit earlier (it is clear that he still did so and deposited him on the road, because Jimmy says so when he arrives at the car at the end) and also to deal with the damaged dam, perhaps not needing to stop the deluge because this time he has enough time to repair the damage before it bursts completely. He also somehow prevents the crack that reaches Lois&#39; car, though she has still experienced the quake/aftershocks and the exploding gas station (she says as much). And of course, Luthor&#39;s huge crime has still taken place and so he must go to jail and for trial. She asks him about this during their interview: &quot;Is it true that you can see through anything?&quot; He then states specifically that he can see through anything but lead (when she steps out from behind the lead plant box she has on her terrace, he says &quot;pink&quot;, giving an answer to her question about what color underwear she&#39;d had on). Lois is primed with a lot of questions, though we are not privy as to how she knows to ask this one. Also, the printed article Lex Luthor et al. read the next day, &quot;I spent the night with Superman&quot;, contains details about him that we do not see Lois and Superman discussing. So, we must simply assume that various rumors and facts had leaked out prior to the interview, during Superman&#39;s first few appearances, somehow (we do see him talking to Jor-El about his having been &quot;showing off&quot; and now being &quot;revealed to the world&quot;) and a lot more putting the record straight must have taken place off-camera, while Lois is interviewing (flying with) Superman. In the original Superman comic book universe, it is safe to assume some, if not all, characters have trouble coming to this conclusion. In real life, although it is possible for a person to recognize Clark Kent, or Superman vice versa, there are numerous people who found they could conceal their identity from at least strangers with a single facial detail like Harold Lloyd (who was an inspiration for Clark Kent) with his glasses or Charlie Chaplin and Groucho Marx with their artificial mustaches. This was probably left out for plot reasons, and to allow a longer running series.<br/><br/>If the comic book series bordered too close to real life, with rational and smart characters, Superman would never have survived this long. His identity would have been deduced very early, and his closest friends and relatives would have been systematically killed. In the modern comics, the disguise has been supported by the fact that the public does not know that Superman have a secret identity since he does not wear a mask, suggesting he has nothing to hide. Furthermore, he has had the help of shapeshifters like the Martian Manhunter who have posed as Clark Kent with Superman in public appearances to make it seem obvious they are two separate people.<br/><br/>More than the glasses, the Clark Kent disguise consists of a completely different personality. Christopher Reeve was chosen, in part, because of his ability to play two completely different characters. Kal-el takes Jor-el&#39;s advice that his secret identity is absolutely necessary to heart and develops the Clark Kent persona in order to keep humans from over-relying on Superman and to protect those he loves. Clark Kent is a bumbling, &quot;mild-mannered reporter&quot;, easily dismissed by Lois and everyone else; Superman is confident and charismatic with a witty sense of humor. Lois even considers the possibility that they are one and the same and then, considering Clark&#39;s personality, dismisses the notion as ridiculous. The skill of Reeve in portraying the identities is demonstrated in this film when Clark is tempted to confess in Lois&#39; apartment; the sight of him simply taking off his glasses, straightening his back and speaking with unexpected timbre has a convincing effect of suggesting another person. In the year 2000, the Director&#39;s Cut of Superman was released. Most of the new material are smaller sequences with plot extensions, but there are two bigger sequences added as well. The first one shows Superman in the Fortress of Solitude, talking to his father Jor-El about the advantage of his supernatural powers. The second one shows Luthor trying to stop Superman by the use of heavy arms, fire and ice. The 4-Disc Special Edition is a Must Have for each fan of this film because it&#39;s the only DVD release including the Director&#39;s Cut and the theatrical cut as well.
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