When the Propstore of London declare the assortment of Super lots above is from ‘The most exciting live auction of contemporary props and costumes ever offered in Europe’ you’d better believe it.
In an astonishing portfolio that makes such collections offered by Profiles In History look like a yard sale, Propstore has assembled some of the most iconic pieces from decades of cinematic history all going under the gavel from October 16th.
The Superman series is well-represented with some rare and highly-desirable lots (some never before exhibited to the public) from storyboards, (shown extensively in the many Superman ‘Making Of’ documentaries on DVD) to beautiful production artwork (of the Artemis II module from Superman II, bottom Pic) by Harry Lange.
Alongside the mock Daily News newspaper (top) and fabulous example of Christopher Reeve’s autograph (on a rare still), the highlight must be the production-used bust of Reeve created by Stuart Freeborn. Though variations of his lifecast are somewhat common now, this full-head plaster model is utterly unique in its purpose of crafting hairpieces for the late actor.
For those wishing to view the calibre of artefacts in person, selection of 200 lots will be on display at the Vue Cinema in White City from the 1st to the 16th of October. Bidding is multi-channel and open now so don’t miss the opportunity to secure your dream item…
SUPERMANIA is proud to present this latest acquisition of promotional prints from Superman IV: The Quest For Peace. Pin sharp and measuring exactly 5×5″ – the purpose of these unusually small (but official) stills is unclear yet they are arguably the best representation of their respective flying scenes – indeed, somewhat better quality than the filmed sequences themselves.
Labelled DC Comics Inc. 1987 on the rear, though most of these shots were commonly used throughout publicity material for Superman IV, (with the exception of the fantastic unpublished shot, top) its worth noting that none of the foreground action and background plates match the scene as composited in the final film –
Photographed by Harrison Ellenshaw’s Special Effects team in 1986, an extensive library of background plates of New York City was collated for the many flying sequences/aerial battles scripted for the movie. Though Superman IV would benefit from the highest percentage of ‘live’ flying in the whole Super series, budget restrictions would reduce the process photography (so integral to maintaining the illusion) to almost pitiful standards.
Denied the use of Zoptics and lacking the quality of front projection, Superman IV’s flying unit would mostly be reliant on blue screen technique, (see here) prone to leaving hideous borders (or matte lines) around its subjects – perhaps tolerable on solid objects but inescapable on human subjects. This, combined with poor composition (bleaching out/making the actors transparent) reduce the wistful reprise of the original ‘Can you read my mind’ scenes, among countless others, to ‘B’ Movie status.
The full extent of the aforementioned sequence was not even available until the release of the the Deluxe Edition on DVD, where ‘going solo’ was established with more footage revealed in the deleted scenes. Implausible as Superman flinging Lois through the air at speed may be, there are nonetheless some charming elements and – like most of Superman IV – prime examples of what could be achieved with a tighter edit and digital upgrade…
More nostalgic snapshots from Seacon’79 courtesy of capedwonder.com from the closing ceremony of the Hugo Awards (held this night, August 25th 35 years ago) and the aftermath where Christopher Reeve signs copies of the UK Superman: The Movie colour programme amongst others.
Such was the coup of the UK hosting this event that BBC2 devoted an entire half-hour episode from their series Time Out Of Mind to film proceedings (see it here) with hilariously stilted results. The organiser’s commendable determination to secure the show and enthusiasm for literature is dampened by the po-faced portrayal of attendees debating the merits of fanzines Intercut with authors appearing weary with mild contempt for fandom.
In the midst of this, articulate as ever, is Chris Reeve (briefly appearing at 8:17), clearly bewildered by the whole experience but gracious enough to acknowledge the passion of fans by stating they could probably ‘draw him a map to Krypton’.
While the current whereabouts of the Hugo statuette is unknown, one suspects it went very nicely on the mantelpiece next to the BAFTA won for ‘Most Promising Newcomer’ the same year…
Clutching a curiously phallic trophy presented by none-other than Star Wars Producer Gary Kurtz, a fresh-faced Christopher Reeve graciously accepts the award for ‘Best Dramatic Presentation of 1978’ for Superman: The Movie at Seacon, UK.
You read it right – Christopher Reeve himself attended a Sci-Fi convention in sunny Brighton, England on this day (August 23rd) 35 years ago.
The 37th Worldcon was held at the Brighton Metropole Hotel where the coveted Hugo award was to be added to the growing list of accolades earned by Richard Donner’s ground-breaking film and its star was invited to attend.
The four day event pertained to be a serious affair for Science Fiction enthusiasts and was well attended as such, with notable guests from the literary world (among them 2001 scribe Arthur C. Clarke) with Q&A panels and even a masquerade contest (long before its evolution into Cosplay). Even advance preview clips from The Empire Strikes Back were shown to eager fans.
Sound familiar? It should – the modern day Comic-Con evolved from these modest events. It would be another 15 years, however, before Christopher Reeve would appear in a similar fashion Stateside for Dixie Trek, the second and final convention he attended in his lifetime.
Go here For more details and pictures of this fascinating little sidebar in Superman history – SUPERMANIA extends its thanks to capedwonder.com for both rediscovering it and providing the amazing rare photos shown above of the ceremony…
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..!
