Though the the restored and remastered Superman: The Movie Special Edition narrowly missed out on a theatrical release in 2001, the subsequent DVD transfer became a significant milestone in the Superman series celluloid history.
long-awaited and a superlative presentation for its time, the double-sided disc would represent the cleanest, sharpest version of the film to date in an extended cut supported by a significant amount of quality extras – but was not without its faults. (not least the awful cardboard snapper case.)
Indeed, many fans of the original picture were bemused by the liberties taken with the all-new sound-mix and some of the questionable editing choices by producer Michael Thau, whose revisions were felt by many to be invasive and clunky. Despite this, sales were immense and the Special Edition would be a mainstay for future formats (though the beloved original soundtrack would later mercifully resurface on Blu-ray)
As one of Warner Brothers flagship catalogue titles, Superman would be further awarded the Deluxe Box Set treatment in 2003,( alongside The Matrix and 2001: A Space Odyssey) by CDA Entertainment, where the original disc would be supplemented by an array of reproduction ephemera presented in a handsome oversize black case.
Stylishly marketed and backed by an all-new advertising campaign (top 2 pics for MVC Stores exclusive to the SFX Magazine Superhero Special), the Deluxe Box Set was an expensive but irresistible package in the wake of what would eventually be less affectionately known as ‘double dipping’.
Given its slick appearance, its surprising and disappointing just how poor the final product turned out to be, starting with the Senitype (where the iconic, sharp 35mm film frame is obscured by the frankly godawful quality print on the mount) and moving onto the lobby cards and reproduction booklet (badly reprinted without any restoration and consequently way too dark). The poster is also a redundant addition being folded (though an offer restricted to the US made a rolled one available).
A triumph of promise over content resulting in an underwhelming dud, the box set today (bottom pic) is affordable as the DVD format erodes but is ironically hard to find. Genuine fans, however, would be better serviced with a copy of the blu-ray and genuine copies of the original memorabilia…
From page to screen as promised in the last post, here is a selection of rare and unpublished prints from the set of Superman IV: The Quest For Peace in 1986 –
From the top – In a fascinating glimpse behind the scenes, a prop Russian Nuclear Missile atop a transporter contrasts markedly with a random selection of British cars and outbuildings at Cannon’s Elstree Studios. Situated on the left is the crane from which hangs the flying rig and on the right, held up by scaffolding is the facade of a building of the ‘Red Square’ set.
Hooked up in his harness and swung out into the the drab, winter UK skies is Christopher Reeve, who in the course of the action has just prevented Nuclearman’s attempt to launch the missile into the crowd before flying off to give chase.
The illusion complete is revealed in the uncommon publicity/press kit shot from the finished scene (bottom) where through the the magic of cinema the elements are combined to depict Superman swinging into Moscow to save the city from destruction…
More extraordinary sketches taken from the production-used ‘Big Red Book’ hand-drawn by artist Martin Asbury –
In the context of the story, Superman has already rid the world of Nuclear Weapons, so quite what a whopping great Nuclear Missile is doing at a parade in Red Square remains unexplained. Nevertheless, the scene was shot precisely as drafted and made the International edit but was ultimately excised for the US cut.
Coming soon – EXCLUSIVE vintage behind-the-scenes pics of the shooting of this sequence..!
In continuation of the posts dedicated to recommended comics reading for fans of the classic Superman Movies comes this unique offering from – of all people – the creative team behind the 2006 movie Superman Returns.
Tasked with bringing the Man Of Steel back to the forefront of popular culture with their upcoming movie, screenwriters Michael Dougherty and Dan Harris (along with director Bryan Singer) would bridge the cinematic gap through DC Comics and the four-part miniseries Superman Returns: The Prequels.
For anybody under the Illusion Returns as released was intended as a standalone reboot/ remake/homage to Superman: The Movie, like it or not, it may come as a surprise to find that (in the context of these issues anyhow) that Singer’s picture is a bona-fide sequel set firmly in the continuity of the classic franchise (or at least the first two) and on that basis alone is being acknowledged here at SUPERMANIA.
For an exhaustive (and I do mean thorough) well-written overview of the collection go here – for those more intrigued by how The Prequels exploit and capitalise on aspects of the Donner pictures – stick with me.
Pandering directly to the nostalgic eye with Part 1 – Krypton To Earth – we actually open on a panel featuring the unique Action Comics cover from the first movie next to a splash page of the red Krypton sun (having never been referred to onscreen as Rao). Though the trial of the Phantom Zone Villains has been omitted, what follows is a wordier but otherwise unchanged adaptation of STM’s first act (concluding in Kal-El’s arrival on Earth). Some expansion on the notion that the Red Sun is in fact the main contributor to Krypton’s demise along with the abilities of the crystal technology are key to the writing here which is fairly seamlessly incorporated into Brando’s dialogue. And for once on the comic page, all the hallmarks of John Barry’s design, Geoffrey Unsworth’s lighting and Yvonne Blake’s costumes are unashamedly embraced here in the art (by Ariel Olivetti) which makes up for the tentative likenesses of the actors.
With the exposition neatly setting the tone of what was to follow, its a pity the subsequent chapters fail on most every level to maintain Part 1’s quality. Instead the following chapters are a series of dull vignettes of how supporting characters have spent their time during Superman’s five year absence. The first, Ma Kent (already in violation of the classic series continuity having passed sometime between Superman II and III) is a bittersweet, mostly internal monologue about her loneliness (with some flashbacks to scenes from STM) concluding with Kal-El’s (somehow undetected) crash landing as seen in the film. The trend continues with Part 3 as Lex Luthor waxes similarly lyrical during his incarceration and eventual release also with lingering STM flashbacks except this time the art (by Rick Leonardi) is so cartoonishly hideous you’d be pressed to recognise them.
Its left to Lois Lane in Part 4 to conclude proceedings with her descent into bitterness having taken Superman’s absence personally to the point where, quite out of character, she writes a Pulitzer Prize winning piece on ‘Why the world doesn’t need Superman’ after falling for another man and having a child. Though again interspersed with memorable scenes from STM (including the helicopter rescue and the flight around Metropolis) the flashbacks seem to serve only as a catalyst for misery.
While The Prequels on paper was a great idea and a worthy endeavor, In execution the run is hurt badly by inconsistency and as a collection fails to engage past the opening chapter. Though Singer, Harris and Dougherty take (large) cover credit, in fact none of the actual comic writing was done by them (Jimmy Palmiotti and Justin Gray for Parts 1&3, Marc Andreyko for 2&4) and the art veers from sublime to ridiculous. Though its a thrill to see scenes from Superman: The Movie finally, legitimately in print, their treatment here as a springboard to the events in Superman Returns, like the movie itself, leaves much to be desired...
From the top – Cover and pages from The Prequels softcover collection released by DC Comics in 2006…
Produced to celebrate Superman’s 75th anniversary, DC Comics and Man Of Steel director Zack Snyder have collaborated with Bruce Timm (Superman: The Animated Series) and Warner Bros. Animation on a spectacular new short to chronicle the many incarnations of the Caped Wonder.
Originally intended as a special feature on the upcoming Man Of Steel DVD/Bluray release, (out Nov 12th) the 2:14 film highlights Superman’s evolution from the Siegel & Shuster days through comic, television video game and silver screen appearances to his current personification of Henry Cavill.
Shown above are screen captures from the Christopher Reeve segment (featuring the famous end title flyby) and bottom, a character study by artist Dusty Abell profiling all the character designs for how they would appear in the short.
For a project engendering considerable hype in advance of its premiere (EW.com ultimately getting the scoop), its a pity the final product ends up reminiscent of a commercial than genuine tribute. While its a delight to hear John Williams theme in any context, the transitions from era to era are rushed & clunky and the choice of incarnations to define them are highly questionable. While there is a reasonable explanation provided for this, (click on the EW link above) the omissions of Kirk Alyn, Brandon Routh and Dean Cain are nevertheless galling in light of their contribution to the mythos…
