SUPERMANIA is pleased to continue its serialisation of unpublished material from the production-used ‘Big Red Book’ of storyboards for Superman IV: The Quest For Peace in a post originally intended to celebrate reuniting the artist with his work.
This past July, tenured UK penciller Martin Asbury was scheduled to attend the Summer London Film & Comic Con – his first convention appearance – and SUPERMANIA was looking forward to presenting him with some of his earlier works while hopefully obtaining a sketch/getting pics and maybe even a quote or two.
Alas, disappointingly Martin cancelled last minute and the trip was abandoned (despite missing the opportunity of meeting both Jeff East and Helen Slater). Hopes are high Martin has been asked to attend the Winter Con so this ambition can eventually be fulfilled.
Meantime, exclusive vintage footage of Martin at work in the Superman IV Art Department drawing boards from the cut nightmare sequence at the start of the film is upcoming. In a short interview, Martin talks about the collaborative process and the process of storytelling. Look out for the upcoming post about Elstree Studios soon..!
…That is the question. One could be forgiven for thinking that this latest addition to the SUPERMANIA archive would be an evident/obligatory part of the collection but due to its deceptively bootleg appearance and difficulty to obtain complete, had been somewhat overlooked until now.
However, despite the highly questionable artwork on the portfolio cover above (top pic) housing the (indeed official) press kit for Superman IV: The Quest For Peace, it would seem such snobbery was misplaced – as far from being a poor attempt to copy Daniel Goozee’s superior final poster art – SUPERMANIA is now of the belief this may have been an early draft by the same artist.
While the finished painting references a portrait of Christopher Reeve taken at the time of Superman: The Movie (amended to exclude the kiss-curl) the rough, at second glance, is actually a good likeness and although its not signed, appears to be Goozee’s work. As for why this was used for promotion at all, who knows? Was the final painting yet to be finished? It may be raw but even in draft form, nothing could ever be as woeful as the final art used for the German release.
Refreshingly, the kit itself is a fabulous package, more often than not today found split and sold as individual stills, (commanding respectable sums on auction websites due to their exclusive nature) however this was the first example I’d ever seen that came with its own WB envelope, (second pic), indicating that with the portfolio notes and set of 14 photographs (third pic) that this handout may be 100% complete and therefore rare…
This post is dedicated to the late Menachem Golan, head of Cannon Films and Producer of Superman IVwho died today aged 85. For better or worse, forever part of the Superman universe…
When the long term loan of the incredible Superman costume display from the Propstore Of London was over, the London Film Museum required fresh Superhero items to exhibit.
While nothing could ever compete with the splendid ‘Hall Of Superheroes’, (the Michael Keaton Batman/Returns suit also returning to its owner) the former Movieum nevertheless sourced a new (albeit curious) menagerie of props to fill the gap until its eventual closure of the South Bank site last year.
These extraordinary shots from the flickr album of givingnot@rocketmail.com depict a group of objects pertaining to be from the original Superman series hastily assembled against a somewhat underacheived backdrop (top pic).
The first prop (second pic) hanging from the ceiling is apparently a large flying miniature of Christopher Reeve (although there was no signage to verify this as a production used or made piece) in appropriate condition for its age but sporting a baggy costume and what appears to be short PVC cape.
The second mystery is the giant upper portion of a magnificent rendering of the Statue Of Liberty. Again, with no signage to which picture this was attributed there is no way to verify its use or authenticity (Superman IV’s torn away cape shot??) although the build quality definitely suggests screen used.
Lastly, there thankfully could be no doubt regarding the provenance of what would be proven as a legitimate prop from Superman IV: The Quest For Peace. In remarkable condition given its age and materials used, the baby Kal-El starship is notable for being the only item on show to feature signage, albeit misleading and inaccurate.
The current whereabouts of these pieces is sadly unknown. With the London Film Museum becoming a a permanent display of Bond Vehicles over in its Covent Garden site (see the last Superman item to be exhibited there here) its doubtful they will be seen again for some time. If anybody can update SUPERMANIA as to the fate of these props, feel free to get in touch..!
This latest vintage addition to the SUPERMANIA collection has the distinction of being preserved for all eternity on a special AKAI videocassette (for high fidelity sound and picture!) released in 1992.
Beneath its fragile cardboard slipcase (with obligatory flipped deleted scene still on the rear) lurks an unmarked VHS tape, the contents of which are the longest available European cut of the film at 89 minutes in fullscreen with Danish subtitles and an AKAI logo in place of the standard Cannon/Warner intro card.
A perfect accompaniment for the tape is the Dutch theatrical release poster from the archive (bottom pic) which text translates; ‘The greatest adventure of all time, soon in theatres – Christopher Reeve is back in Superman IV…
A SUPERMANIA exclusive courtesy of Jim Lynn and his fantastic blog VHISTORY, from tape 222 of his vast archive of 3000 vintage VHS recordings comes this long-thought-lost footage from the making of Superman IV: The Quest For Peace.
Barry Norman’s Film (insert year) was a British institution on the BBC for decades and pre-internet, arguably the best source for all things Cinema. Despite his famously sardonic presentation style it was clear Norman had an enduring affection for the Superman series as evidenced by this excellent location report from Film ’87, presented here for the FIRST time on the internet with never-before-seen onset footage.
The basis for Norman’s report is how Christopher Reeve had come back to the franchise after controversially (at the time) declaring ‘Never again’ during part III. Reeve’s comments in the interview are hilariously contradicted by a clearly embittered Margot Kidder, nose firmly out of joint having been thought of as too old to resume her role as Lois Lane. While Reeve is clearly happy indulging himself with his second-unit direction/story contribution and comparing his latest co-star (Mariel Hemmingway) to Ingrid Bergman, Kidder’s opinion about being sidelined is ironically at odds with her part in the finished film as the love story between Superman & Lois had not been given greater emphasis since Superman II…
