In 2004, three years after the all-too-brief resurgence created by the Superman : The Movie Special Edition and its abandoned worldwide cinematic re-release, the prospect of any unseen footage emerging from the sequels still seemed laughably unlikely –
Though major plans by Warner Bros. were in fact already underway to collate all the footage for the four movies to present the Ultimate Collection on DVD, (and, Indeed, the ambitious Richard Donner Cut) there was still a firm belief across the fan community that most, if not all footage, from Superman IV especially, was forever lost.
And then, out of nowhere, the efforts of a SuperFan (as ever) paved the way to enforce the belief that anything is possible. In this short archive ‘Making Of’ video (top) captured and restored by Alex Serpa, more from the production of Superman IV was revealed in four minutes that had been for 20 years previously. From the opening storyboard to the on-set footage of the Nuclearman II battle at Elstree Studios, (filmed on December 10th 1986) the footage is sweetened even further by the insights of Christopher Reeve.
Showing the confrontation and first revelation of dialogue between Superman and Nuclearman I, the brief action was more than enough to restore faith that somehow, somewhere, one day the deleted scenes would be found…
Rare stills above from the set to correspond with the scenes shown in the video courtesy of Alexei Lambley-Steel and Matt Derby. Many thanks to Alex Serpa for the use of his awesome video!
In its 31st year at the time of publishing, The 1976-77 International Film And TV Yearbook is nothing if not a fascinating snapshot in time.
A Screen International Publication (A Division of King Publications Ltd.) This doorstop- heavy tome literally houses the film industry of the age between its garish orange covers. Edited to a mere 680 pages by ‘Mr. Showbiz’ (as referred to in the introduction) Peter Noble, its a virtual Yellow Pages of cinema. Need Michael Caine’s agent? Want to book a slot in Elstree Studios? Have an enquiry for Rank Laboratories? Its all here and good for across the globe.
The impact and readership of these annuals was obviously not wasted on one Mr. Alexander Salkind, European producer of considerable reputation in what would turn out to be his prime. Never one to miss an opportunity for advance publicity, Salkind manages to solicit both covers for two upcoming projects (on the rear: The Prince and The Pauper, third pic) including a little picture that wouldn’t hit screens for another two years.
Not content with covers and spine, all three exposed sides of the volume are also stamped with the word ‘SUPERMAN’ (second pic) even if there is no mention of the film inside. Utilizing artwork that had already spearheaded a similar campaign in the pages of US screen bible Variety, (click here) the film was at this stage clearly under the direction of Guy Hamilton.
A final treat for the Superman historian was the neat addition of the bookmark – (god knows it needs one) cleverly modelled after a clothing tag for none-other than Bermans & Nathans, (bottom pic) makers of, among many other adornments, Superman’s costume…
SUPERMANIA presents more never-before-published pages from the Big Red Book of storyboards chronicling Superman IV: The Quest For Peace –
These pink revisions pencilled by Martin Asbury dated 13th November 1986 were faithfully translated from page to screen on the backlot of Elstree Studios in 1987, go here to see a collage of rare behind the scenes and publicity photographs showcasing a finished scene that was inexplicably deleted from US theatrical prints…
SUPERMANIA presents the concluding part of Dwight R. Decker’s exhaustive review of Superman: The Movie from the vintage pages of The Comics Journal.
Pulling no punches as established in Part 1, Decker’s continued observations are at once barbed as they are complimentary. Having passed judgement on the Krypton scenes through the eyes of a comic-book devotee, Decker notes that the Smallville scenes (short of the era represented by the established timeline) are equally strong.
A favourite quote from the late Tom Mankiewicz was “Bam! You get to Metropolis and you’re in the comic book” may be true but this is where Decker begins to take exception. Besides the obvious praise for newcomer Reeve (no mean feat for a die-hard comic fan) the casting choices of Margot Kidder, Jackie Cooper and especially Gene Hackman in his view are at odds with the characters represented on the page. While a case could be made for the descent into camp of the Luthor scenes( being reminiscent of the Batman TV series) the commentary on Margot and Jackie is harsh and the romantic, whimsical themes portrayed in the picture are clearly wasted on him.
In his summing up Decker enforces a common myth by claiming Superman is several movies in one. As the narrative is clearly a play of three very different acts he manages to undo some of his sharper insights when he claims the movie commits ‘dramatic suicide’ with the Luthor plot and that Lois should’ve stayed dead…
“The Man of Steel explodes into action like never before, with the Christopher Reeve as Superman Premium Format™ Figure.
Having just celebrated his 75th anniversary last year, the all-American icon endures through the decades like, well, a Man of Steel. Superman’s famous red cape soars on, even while aspects and attributes of the world’s first comic book superhero change as a reflection of the times and culture…”
Unveiled for pre-order on this splendidly presented page, the highly anticipated reveal of this latest PF is not quite the embodiment of SUPERMANIA’s worst fears realised but still does little to advance them beyond the initial thoughts as offered here.
Besides the hideous wooden plinth to force the height of the piece over two feet the addition of the out-of-scale Green Crystal (as an exclusive) elicits yet more bafflement but little incentive. There are positives – the costume (less skinny belt and padless cape) is fabulously realised but the irony of such time and effort being spent on this and having the best view from behind is not lost here.
Even this excellent article documenting the talented Matthew Black’s artistic process and obsession with the Reeve lifecast can’t detract from how much better the Hot Toys figure manages to appear sat on his own desk. Sadly, the gaunt, unbalanced portrait simply fails to capture Reeve and the pose is every bit as out of character.
With less ambition and more faith in simplicity and the source material this may well have been the definitive licensed Reeve as Superman statue. To expand, a base comprising of a top-tier corner from a New York apartment terrace, a headsculpt by Trevor Grove resplendent with warm expression, a revised costume with correct details and a pose, well, see any publicity photo from ’78 and take your pick. Whichever way you slice it, the fusion of iconic vintage with 21st century aesthetic in this instance fails to soar…
