Review of Man of Steel (2013) by Gary D — 22 Mar 2016

A common complaint about Superman is that he is too old fashioned, too out-of-date and just too untouchable. Wrong. His journey isn't as simplistic as many make it out to be. He doesn't just throw on the red cape and suddenly everyone in his world loves him. He technically doesn't even have a world to call his own in the first place. He's a man that ponders whether or not he has significant relevance in an adopted world and doesn't know what to do with the extraordinary gifts he possesses. It's an appropriate theme to tackle, especially for a modern audience to begin understanding Superman again. In 1978 director Richard Donner gave Superman the first big theatrical treatment with groundbreaking visual effects (For it's time), a lighthearted tone and of course Christopher Reeve. Though at times the tongue and cheek humor was often cringe worthy and some of the plot was preposterous even by Superman standards, it became an instant classic due to Reeve's iconic performance and staying true to that era of that character's morals. It has since served as the template for all superhero films that followed it. But can audiences connect with that type of Superman today? Bryan Singer thought they would in 2006 when he decided to continue the franchise with Superman Returns, but the result was nothing more than a cardboard cutout off the Donner/ Reeve films. To put it simply, in the 35 years since the first Donner film things have changed and for Superman to ever enter the modern world he needs to change too.

If anything, Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again (Cough cough The Amazing Spider-Man cough cough)? By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman from Joel Schumacher and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. But a bit of warning to the so called purist. This is nowhere near the Superman that rescues kittens from trees, flies back in time or erases memories with his kiss. Instead we are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.

As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.

Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.

Perhaps the most impressive aspect of this incarnation is the way Superman is presented in the real world. Just as Batman Begins examined how Batman's technology could exist in reality, Man of Steel examines the biology of Kryptonians and how they differ from humans. How does his body handle hearing multiple things from miles away in every direction and what does it take to learn how to fly? The more time Clark spends on a planet near a yellow sun, the more his body develops it's abilities, like a separate set of muscles. And there's a pure joyous look on Clark's face when he begins his first flight. How else would you react if you flew for the first time? When Clark comes into contact with an abandoned Kryptonian ship he makeshifts it into his new Fortress of Solitude, but here it might as well be renamed the Fortress of Existentialism. But within that fortress Clark discovers several messages left for him by the biological father he never knew. He is told the true meaning of the glyph that has followed him his entire life. The "S" has represented many things for Superman over the years from a family crest to just simply being an "S", but here it's treated as a symbol of hope. Jor-El doesn't see his son as Earth's leader or it's potential downfall, but as an example for others to do the right thing and to never stop fighting for what you believe in. So now the only questions remain is which father does the man of steel follow? Does he want to be Kal-El, or Clark Kent? Once he emerges from his fortress he becomes the costumed hero everybody knows. Every cloth suit that came before look like pajamas compared to the new red underwear free Kryptonian armor. Seriously, was there ever a practical reason for the underwear in the first place?

Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.

Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's used car salesman-like portrayal of Lex Luthor. Thankfully no such Luthor makes an appearance this time around. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon, the scene stealer on HBO's Boardwalk Empire and Oscar nominee for 2008's Revolutionary Road is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.

Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.

Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.

While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another. Come awards season, if Man of Steel needed to be nominated for anything it has to be Zimmer. The Academy still needs to atone for not nominating him for any of his Batman scores.

Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? The ones who can let go of the goofy nostalgia of the previous films and the ones who understand reinvention is necessary certainly will. As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserves to grow. Because unlike what occurred in 2006, this time Superman really has returned.