Sold only days ago by the Propstore Of London, the unique item shown above is not your typical example of movie memorabilia, nor is it a hand-me-down from a market-stall trader –
Gifted to ‘John’ for Christmas 1977, this coat is actually one of Christopher Reeve’s on-set casual jackets worn between takes both to cover his Superman costume and offer warmth against freezing nights on the Pinewood lot.
Watch any Superman ‘Making of’ documentary on Blu-ray/DVD to see Chris in a variety of coveralls during his tenure between takes – (pictured bottom is a similar jacket worn during the shooting of Superman II) consisting of coats and more often than not, a bright red dressing gown.
This particular offering is made all the more poignant by the accompanying handwritten letter on Superman production stationary by Reeve himself reading;
“Dear John –
This is by way of a present because
I don’t really know what you need and
I hate to give useless things –
Anyway Merry Christmas and
thank you for being a friend.
Yours,
Chris.”
With such great provenance the jacket sold within hours of being listed, possibly not on the strength of the item (fine example though it is) but by the story behind it proving that even Superman needs a friend…
SUPERMANIA brings you a comprehensive update on this archive post regarding the above full-size prop re-photographed by me only days ago –
As previously reported, the Baby Kal-El Starship had been mothballed waiting to be researched for exhibition in the London FIlm Museum until its discovery and subsequent identification by a visiting fan. The presumption was that the meteorite was the prop used in Richard Donner’s original Superman: The Movie but upon close inspection I can exclusively reveal it is in fact no such thing. Instead, the prop currently residing in the Great Hall is a relic from the opening scenes of Superman IV: The Quest For Peace.
Proof of this is the orifice in the right hand side of the inner chamber (second pic down) where the ‘Energy Module’ left by Lara as her ‘Last Gift’ to her son Kal-El emerges before being removed. As the crash landing scenes in Donner’s ’78 picture were shot in Canada, it was always curious as to how the ship made its way back to the UK in such pristine state when Part IV’s location work was limited to these shores.
I recommend a visit to the museum to see this piece up close as its remains a well maintained prop and a genuine piece of Movie history. Should the London Film Museum wish to update their plaque to identify the item correctly and with accompanying stills, however, they are more than welcome to contact me…
The Propstore Of London has struck again with another fine piece of cinematic history, this time from the opening scene of Superman II: The Richard Donner Cut where Lois Lane seeks to prove Superman’s identity by way of a sketch.
The above is one of the few ‘clean’ versions of this prop as Margot Kidder would be required to draw her Clark Kent over Superman’s picture with marker take after take (as shown in the contact sheet supplied!). Its a little known fact that the Daily Planet newspaper mockups were headlines & pics assembled around real news stories of the time/gibberish and that only the covers (and inserts when required) were produced wrapped around the London Evening Standard for filler.
Due to the obvious fragility of these pieces they are steadily becoming more scarce. I had the opportunity to purchase one of the above years ago (at a fraction of the price its commanding now) but because I didn’t recognise it from any of the films I passed – Imagine the head-slapping moment when the Donner Cut finally emerged and the prop gets the most amount of screen time in the series…
Nestled among the ‘New Additions’ on the Propstore Of London website is this little piece of cinematic history, a casting struck from one of make-up legend Stuart Freeborn’s miniature Superman head sculptures.
This rare offering comes with the great provenance of a still showing Freeborn himself holding aloft two finished flying puppets from Superman II topped with similar casts. Almost primitive by today’s standards, these puppets originate from a clutch of models made in various scales to double for the actors in long shots and more complex flying scenes.
The most obvious use of similar props is the Eiffel tower and climatic Metropolis battle sequences where they were frequently ‘flown’ on transparent thread. Go here to read more about Stuart’s contribution to the Super-Movies and see his 1:1 lifecast of Christopher Reeve which he released only recently after keeping it stored for decades…
My sincere thanks go to fellow SuperFan Alexei Lambley-Steel for allowing me the chance to own the little slice of cinematic history pictured above.
Culled from a package originally delivered to Hair Supervisor Joan White at Dovemead Productions on 23/06/82 containing three handmade hairpieces, pictured above is one attributed to Clark Kent stunt double Richard Hammet for Superman III. This handmade, human hair, lace-fronted hairpiece has a surprisingly reddish-brown tint and although somewhat thinned, has survived well for a 30+ year old wig.
Due to its Tribble-like appearance when it arrived with me I sought to restore it to its original glory without compromising the authenticity of the piece. To that end, a comb, a little water spray and a lot of patience paid dividends as the famous mild-mannered reporters locks fell neatly into place, a fantastic addition to my collection…
