It’s Christmas morning, 1978. It’s 5am and you just can’t sleep another wink so you gingerly open your bedroom door and start down the stairs in your pyjamas. The welcoming smell of Turkey in the oven hits your nostrils and your excitement goes up another notch. In the kitchen, your mom spots you, smiles, rolls her eyes and whispers “Just wait for your Dad” before heading back up the stairs. And then its just you, staring at the tree in the lounge with its mesmerising coloured lights and at its base, two small mountains of wrapped presents.
There’s thumping down the stairs as now your sister is awake, with Dad following close behind. You wait patiently while sis tears past you, diving right into her pile. “Okay, go ahead” says Mom. Dad takes a seat on the armchair while you kneel down next to the tree and grab the first one, tearing at it in a frenzy. You draw breath when you see its a Dinky Eagle Transporter from Space 1999. You grab another, bigger this time – seconds later the paper’s off and you’re holding the Star Wars Escape From the Death Star board game with mouth agape. Then its three Star Wars figures wrapped together. Greedo, Hammerhead and Han Solo. Just when you think life couldn’t get any better, out pops the Palitoy Superman figure from the movie dad took you to see only a week ago…
Sadly, this is where I always wake up. It’s not as if we were completely deprived – the Mego Pocket Super Heroes Superman was a solid addition to the toybox at the time, (with its short cape and metallized ‘S’) pitched against assorted Star Wars aliens and winning every time. The 12″ Mego Worlds Greatest Super Heroes were, for me, much better, just because they looked more like their cinematic counterparts. But even as a kid, you got the sense these weren’t actually from the film in the same way the Star Wars toys undoubtedly were.
The reasons for this, of course, are well-known now, with litigation going back for decades only recently settled to the point where the above description may have been a reality. Indeed, many fans in the US are currently reliving their childhoods this Christmas courtesy of McFarlane Toys, who have just released their fully-licensed Superman: The Movie 6″ Action Figure (which I will be reviewing in a future post!). Back in ’79 though, this was only a minor issue as the Superman sequels, would surely present the opportunity for an official line of figures? Were it not for Kenner’s Super Powers line in 1984, fans would have been outraged, but as that line produced arguably the greatest Superman figure of all time, even die-hard fans of the movies were placated, but never truly satisfied.
No Surprise then, when us GenX kids came of age and means, that we sought to plug childhood gaps. A strange phenomenon to be sure, and while the psychology of this is best left to professionals, when talent yields results that make many people happy, it shouldn’t be underestimated or overlooked –
And that’s where my good friend Chris King comes in – and take it from me, he’s the personification of talent devoted to making people happy. In the 20+ years I’ve known him, he has endeavoured, time after time and project after project (and at great personal expense), to fulfil these childhood shortfalls and create the toys we were cheated out of as kids. A lifelong sci-fi fan and collector, Chris decided to make for himself the collectables he always wanted but never got – starting with Flash Gordon – another seriously under-merchandised movie. Where were the figures in 1980? How could there not be a toy of Flash’ iconic Rocket Cycle? Cue years of research culminating in both fully realised versions as if Palitoy and Corgi had released both a playset and die-cast model respectively – complete with accurate period style packaging. Want more? How about a set of Viewmaster reels indistinguishable from the tie-ins from the era?
The advance of 3D printing over the last decade or so presented no end of possibilities – now you could actually make things vintage toy companies never had the vision to produce. Chris idea was simple – take a long-expired manufacturer and revive it with not only the Star Wars toys they never made, but any franchise in the Kenner style. KennerByKing is now one of the most popular shops on Etsy with an enormous range of cardbacks available for figures either of your own creation, or more recent re-releases. The Superman figure shown above was a special, limited commission by Chris never intended for sale, just to offer a tantalising glimpse into an alternate universe for Christmas 1978…
Superman Still Saves Me: The Eternal Impact of Christopher Reeve
Growing up, my old man would casually warn me about the inevitably of getting older. He described the fleeting and fickle nature of time— that it seemed to go faster the older you get, and that it usually slowed down to a leisurely, agonizing pace during the worst experiences; conversely, and with seemingly cruel intent, it would accelerate to dizzying speeds, in which the increased velocity was directly proportionate to how enriching a particular experience might be. Despite the existential weight of his imparted wisdom, his reassuring tone allowed my young, frantic mind to narrowly perceive the finer points: time speeds up when you’re happy, and slows down when you’re miserable. Unsurprisingly, and in typical juvenile fashion, I dismissed his prophecy until it became impossible to avoid.
So, here I am, at nearly 40, all too aware of the passing of the ages; clinging to the comforts of remembrance, and anticipating the coming phases with something between intrigue and dread. Add to that a standard amount of uncertainty and wavering confidence, I oft find myself seeking comfort in reliable, familiar things: ideals, principals, kindness, MUSIC, memories, inspirational figures and characters, and the singularly rarest phenomenon of fiction and figure merging in synchronous resplendence.
My wife Samantha recently pointed something out to me— the occurrence of a nearly unconscious but conditioned, self-soothing technique that I seem to have been utilizing for years. She entered our living room and beheld me, in my sluggish, pajama’d splendor, sitting upright in my creaky recliner. A nightcap in my hand, fixated intently on the screen of our television, I was absorbing the concluding scene of my favorite film of all time: ‘Superman: The Movie.’ Onscreen, the Prison Warden, clasping the railing of his balcony, and observing the sudden delivery of America’s most nefarious real estate mogul, asks ‘Who is that, Superman?’ The proudly defiant Lex Luthor snatches the convincing wig off of his bald head, and proclaims ‘Lex LUTHOR! The greatest criminal mind of our time!’ At this moment, Sam smiles and asks me ‘What’s wrong?’
‘What do you mean?’ I reply, perplexed.
‘Did you watch the whole movie, or did you just put on this scene?’ She responds, with a knowing, maternal timbre. I smile.
‘Just this scene.’ She begins to nod her head.
‘You only put THIS SCENE on when something is bothering you.’ I made a feeble attempt to seem incredulous; but there was no use. As she asked me that simple question, I began to conclude and concur with her empathetic implication: in times of stress, anxiety, sadness and confusion- without fail, I put on the last scene and closing credits of ‘Superman.’ In concurrence with Sam’s suggestion, I had indeed staggered through an emotionally overwhelming day, and had arrived home feeling utterly defeated. And, true to form, in need of a most affecting and thorough rejuvenation— I put on ‘Superman,’ and skipped right to the final scene. And I did so instinctively. And what happened as a result? The same thing that happens, unfailingly, every single time: I felt a sense of true, untarnished patriotism as Superman admonished the Warden to hold captive the lawbreakers until their due process is satisfied; I grinned and chuckled as Luthor’s luckless crony, Otis, proudly echoed the proclamations of his sardonic lord and chief; I felt the pride and admiration of the Warden as he turned his glance directly to Superman, staunch and resolute. ‘This country is SAFE again, Superman. Thanks to YOU’ he proudly declared. I concur wholeheartedly. His gratitude is MY gratitude. Capping the exchange with humility, and unconditional servitude, Superman cheerfully replied ‘No, sir. Don’t thank ME, Warden. We’re all part of the same team.’ After nearly 39 years of watching this timeless epic, this particular line always lands with profound impact. And with a last ‘good night,’ the trumpet calls and reprises the eternally triumphant and invigorating fanfare, for the ascension of the most literal embodiment of the Super man. The fanfare plays, Superman descends and smiles at me, and the credits roll to the end while the music cleanses my spirit.
And with that, I am restored. Tranquil, content, and inspired. Superman has saved me once again.
I can imagine that, for those of us who behold the life and work of Christopher Reeve with reverence and gratitude, a story like this probably rings familiar. Though seemingly scattered throughout the world and with great distance between us, we have all shared the memories and moments in which Chris himself, as Superman, or the myriad of flawlessly embodied characters, has profoundly impacted our lives. Regarding Superman, some of us were children when he saw him fly for the first time, while others were well into adulthood. Yet, despite the difference in age, the collective impact appears to have been identical. For example, I vividly recall the moment in which I first saw Superman catch the falling helicopter with one hand, halting its rapid descent, and lifting it back to the rooftop. I was 8 years old, sitting on the bottom bunk in my bedroom, watching the scene unfold on a tiny screen from a VHS cassette recorded off of HBO. Having essentially watched the Superman films in reverse order, it occurred to me in this moment that I may well have saved the best for last. My jaw dropped, my eyes widened, and I remained awestruck and still until Superman’s first night had concluded. Over the years, I have communicated with like-minded fans, who described having similar or identical reactions to this particular moment. Like me, a few of them were children at the time of their viewing; however, others among us were well into their 20’s or 30’s when they first saw it; likewise, they too reported having felt overwhelmed and awestruck by this and other scenes in the film. There was great affirmation and validation in learning that so many others had been affected in the same ways I had been; but equally powerful, was the conclusion that this movie—this Superman—this MAN, transcended any possible barrier of age, station, or circumstance, in the reach and profundity of its impact.
How was/is this possible? Well, on its surface, that’s easy to answer: Christopher Reeve. But what is it about Chris’s portrayal of this hallowed character, that burrowed into our subconscious minds, and keeps us coming back to him over and over again? Why is he OUR definitive and forever Superman—and moreover, what is it that seems to make him MORE our Superman, even than the comics from which the character originated?
Before Chris was cast, the most recent onscreen portrayal of Superman came from the 1975 televised revival of 1966 Broadway musical, ‘It’s a Bird, It’s a Plane, It’s Superman!’ Superman was played by stage and television actor, David Wilson; perhaps, due in part to the year of its inception and a certain television series based on another famous DC comics character, this show leaned heavily into the comedic and campy corners of the material. That’s not a criticism per se, but it did seem to unwittingly prepare the world for a considerably ‘hard reboot’ for Superman, in terms of the collective public perception of the character. And so, with the arrival of ‘Superman: The Movie’ in 1978, the world was introduced to the version of Superman that it may well not have known that it needed: at face value, a most perfect physical incarnation of the now 40 year old character, seemingly haven risen straight out of the pages of the comic. Revolutionary special effects produced a version of Krypton that maintained a subtle sense of late 70’s futuristic aesthetic aspirations, and wholly unique and brilliantly realized technological marvels. For the first time in the history of live action media, Superman convincingly flew. And he didn’t just float, hover, or gradually find his mark. The man bent his knees, launched himself into the sky, made sharp banks and turns, and landed gracefully with a sense of casual instinctiveness. In other words, Chris’s flight seemed as natural and authentic as a brisk stride. He performed acts of superhuman strength, from catching a bullet to lifting the San Andreas fault back into place.
These are basics. Incredible, awe-inspiring basics, to be sure. But these are just some of the boxes checked for the wide audience—children and adults who were ready to see the Man of Steel come to life, and live up to the high standards of pulp fiction that made him less than a god, but more than a man. There were, however, in the very foundation of Chris’s performance, transcendent and everlasting qualities; the essence of truest humanity that people often come to believe isn’t possible to achieve. These qualities, which seem clear and obvious to me now, weren’t so readily perceived when I first became attached to this Superman. At least, not consciously. That is to say, the most personal and authentic miracle of Christopher Reeve’s Superman was the gift of revelation— seeds planted of such pure and abiding kindness, selflessness and servitude that gradually transmogrified into bright, blooming flowers; stunning to behold, and impossible to deny. Revelation- enrichment and understanding, much like gaining the trust of one admired.
When that perfect trust is received and reciprocated, partings and reunions become congruent with the sensations of leaving and returning home. Therefore, for me, and many, many others, I suspect that returning to the Splendor of Chris’s Superman is akin to coming home. To the surrogate father who honored HIS fathers and mothers, and whose example we strive to follow. To the impartial lover of humanity, who cared as much for a little girl and her cat as he did for Lois Lane. The hard worker whose dedication to truth and justice shone radiantly and equally— as an immigrant, a citizen, a journalist, and a protector. The available friend who answered the call of world leaders, after answering the letter of a concerned and faithful child. To put it slightly more simply, Christopher Reeve elevated the strength of the PERSON of Superman, to the position of a relevant, morally steadfast role model. For all humankind. Chris’s personal values, wisdom, and example have become permanently fused with, and amplified by those of the mere CHARACTER of Superman; and because of this momentous union between a real human being and a fictional icon of virtue, Chris truly, actually became…..
Superman. The real, LITERALLY real, Superman. The real merges with the mythic to become, miraculously, mythically, real. I can think of no other instance in history, in which such a phenomenon has occurred.
With the help of dear Chris, Superman has evolved from a fictitious legend, whose values we strive to uphold, to a legendary person, who embodied and justified those values. He lived among us, walked in our shoes, and showed us all what it really means to be Super.
How blessed we all are, to have actually seen it happen.
—James Walker
(Illustration by KIBAR)
Although SUPERMANIA’s long-standing relationship with Propstore has been going on for some years now, after last years bumper offering of incredible artefacts from all four Superman Movies It seemed there was no chance such a feat could be repeated. Indeed, after 40+ years, how many loft finds and shed discoveries from various former crew and/or family could there possibly be? No, the 2021 auction was surely the pinnacle of what remains of available Superman ephemera. The exquisite miniatures. The hairpieces, the crystals. Even Valerie Perrine’s iconic dress. After the last visit, we all shook hands and drove home with a sense of finality – how lucky were we to see these wonderful pieces before they were scattered across the world to their new custodians?
Well. Turn’s out joke’s on me.
Not content with having just as enviable a selection as last year, Propstore have gone one better by presenting a catalogue of fresh items in this years Entertainment Memorabilia Live Auction with a complete costume from the Salkind Superman trilogy as their premiere lot. While Propstore has seen many a Super-garment pass through their hands, rarely does a complete costume (below, on a finished display, no less) become available. And quite the example it is too, with the description revealing it to be a composition of screenworn items from all 3 films, presenting a unique opportunity to own a piece from each in the franchise.
Also for Reeve fans there is the 1:1 in flight model from Superman II, an autographed still and my personal favourite lot, the two Leather-bound scripts personally signed by Reeve and donated as a prize to UK TV show Multicoloured Swapshop, where the provenance on offer is about as comprehensive as can be.
Enjoy the preview video (top) courtesy of the Capedwonder Podcast where Jay Towers and I interview Propstore CEO Stephen Lane and look out for the upcoming video on the SUPERMANIA YouTube channel as we prepare to visit the Propstore office once again at the end of this month. Until then, I will keep any predictions about next years auction firmly in check…
Now that the site has been rebranded and revamped (thank you all so much for your support..!) its time to get back to what SUPERMANIA does best, showcasing rare and obscure collectables –
And they don’t come much better than this amazing curio from the Netherlands – a Superman – The Movie Promotional poster in four parts and over two metres long – making the figure of Christopher Reeve life-sized. This package was only available as a mail-away for collectors of the Monty Gum Superman Trading Cards – where ten empty packets plus 50p in postage would also enlist you in the Monty Superman Club.
In absence of the Topps trading card sets in some European Territories, local confectionary companies like Monty Fabrieken (of Leiden, Holland) picked up the licence and produced packets containing 3 cards and the obligatory stick of bubble-gum.
Whereas the cards and wrappers (produced in two sizes) occasionally pop up on auction sites, this particular piece of ephemera (complete with card cover and four postcards) is notable for its rarity and few complete examples are known to exist –
The copy above came to be in the SUPERMANIA collection from a folder of Dutch/German clippings, its previous owner obviously passionate Superman devotee from childhood. This set was pieced back together from the scrapbook with the posters in pristine condition tucked between the (mostly water damaged) pages. Until recently I had no idea what its origin was until another collector proudly posted his copy on Instagram…
As the very proud custodian of the ‘Big Red Book’, any follower of SUPERMANIA will be aware of my affinity for the UK national treasure that is Martin Asbury. Most notable for his long-running newspaper strip ‘Garth’, Asbury went on to storyboard some of the most popular movies of the last few decades, culminating in the as-yet-unreleased latest Bond film ‘No Time to Die’.
Last seen here in vintage footage working in his studio at Elstree, a catch-up with the man himself was long overdue and courtesy of Superfan Philip Hawkins, we finally got the chance to ask the burning questions in the Superman IV Live Watch Along Event. Laughingly referring to it as ‘The Greatest Film Ever Made’ Asbury’s candid and frank recollections are a fascinating insight into the production. As if this wasn’t enough, during the Zoom call another Hollywood legend logged on to contribute – Mr Harrison Ellenshaw! To hear the old friends reminiscing was a joy in itself but for Superfans there were revelations aplenty about the making of Superman IV. For example –
• Asbury was credited as concept and Matte artist but for not his main duties as storyboard artist.
• He designed the opening credits of the film under the direction of Sidney J. Furie – Clive Mantle’s credit as Nuclearman 1 was cut.
• Storyboarding was completed before the role of Nuclearman was cast, explaining why he’s drawn like the ‘Silver Surfer’
• Asbury was also the artist for the matte painting of the Volcano – it’s still in his possession and is currently used as a ramp for a catflap at his home(!) The Lava in the Volcano scene was porridge lit from below.
• Harrison Ellenshaw brought his father Peter out of retirement to help finish the Matte paintings due to the tight schedule
• According to Asbury, besides Lex Luthor’s lair, most of the sets for the film were ‘tiny’
• Sidney J. Furie couldn’t watch the test screening and sat waiting in a restaurant across from the theater. Harrison Ellenshaw said the audience were ‘throwing things at the screen’ in protest
• The test screening was a ‘rough cut’ of 134 minutes. Based on the audience response, Warner Brothers immediately ordered ‘whole reels be dropped’ to bring the runtime down.
• Even though he knew the picture was collapsing around him, Christopher Reeve ‘Never had a bad word to say about anybody’ and ‘was a very pleasant and approachable man – not grand in any way’.
• The production began shooting at Pinewood Studios as the first three had done – it was then re-located to Elstree
• Christopher Reeve suffered an allergic reaction to his new Superman costumes and came out in an uncomfortable rash all over his body
• Mark Pillow had twisted his ankle during filming so an insert showing Superman stamping on Nuclearman’s foot was shot to explain the limp.
• Nuclearman’s demise was filmed at the now-demolished Didcot Power Station and the entrance to the Boys School where Lenny is dropped off are the gates to Elstree Studios
Philip will be making an edit of the event available on Facebook shortly – I urge both Superfans and anybody with an interest in the movie business to give it a listen….
