A recent viewing of the Richard Donner Cut of Superman II prompted a dusting off of my original script, (originally belonging to Production Illustrator Reg Hill) where I was reminded of the intended opening shown above.
These pages are the only evidence of the scene’s existence, however, as apparently it was never shot. The lack of the Fox Hunting scene among others accounts for Superman’s late appearance in his own movie, highlighting the fundamental problem with the Donner Cut insofar as expectations could never be met by what is, essentially, a series of unfinished scenes with Richard Lester footage as glue. Despite a valiant effort by editor Michael Thau to achieve coherence with this, it ultimately best viewed as a flawed but nonetheless groundbreaking experiment – and possibly the greatest DVD extra ever conceived.
Its also fascinating to think what potential use the above scene may have been put to in a campaign to ban foxhunting by people who shared Superman’s sentiment – a law that was passed by the UK Government decades later…
The dawn of the Digital age presents many possibilities as yet fully unexploited – the concept of ‘resurrecting’ an actor for a posthumous appearance is still in its infancy but constantly advancing. See above digital renderings of the late Christopher Reeve (by artists I only wish I could identify to give them the full credit for their incredible work) with the heft and stature of age as he would potentially appear in an animated version of ‘Superman V’.
Other artists have gone one better and put the images in motion – one can only hope in future the Movie series could be concluded in a fashion befitting of the performance emulated here and to date, unsurpassed…
With the movie rights to the Man Of Steel now residing with Cannon Films, there had been talks for the release of the fourth chapter in the Superman series to coincide with the character’s 50th birthday celebrations in 1988. Producers Golan & Globus, however, were determined to push the project forward to meet a deadline of summer 1987, so by late 1986, the shooting schedule at London’s Elstree Studios for Superman IV: The Quest For Peace intensified to to six days a week.
As co-writer, second unit director and star, this left little time for other engagements, but newly-crowned Prince of the Cannon family Christopher Reeve nevertheless found himself duty-bound to represent. Though Reeve had traditionally shied away from public appearances (despite requests from all over the world), the prospect of Superman himself flying in (by helicopter) to cut the ribbon and usher in a new age of cinema for British audiences was too rich an opportunity for the studio to miss.
Indeed, the opening of the UK’s second Multiplex in Salford Quays, Manchester was the crowning achievement of The Cannon Group’s rapid expansion as a UK cinema chain, having acquired several existing cinema circuits, including many operated by Associated British Cinemas (ABC) and a video distribution service. Comprising of 8 state-of-the-art 70mm screens at a cost of £3.5 Million, the cinema was to be the centrepiece of a £25Million investment into Salford’s docklands.
Those lucky enough to attend the no-expense-spared opening ceremony recalled the experience of the night –
“The helicopter with Christopher Reeve aboard landed on Ordsall high school field – we greeted him with handshakes, he was tall and was wearing a long brown overcoat…we walked him across like the Ordsall mafia to the cinema. He had bodyguards with him – we just walked with him from Ordsall high across Trafford Rd. to the cinema like best pals haha…he was ok and spoke to us all but his bodyguards wanted to push him along sharpish..”
“I also went on the opening night and won 2 free tickets to go on Piccadilly Radio and met Superman himself..”
The cinema would go on to great success over several incarnations before its demolition at the turn of the millennium. Though its grand opening may have been huge local news, the arrival of Superman in Manchester somehow did not warrant national coverage, and so this fan (12 at the time!) had no prior knowledge of it until a just few years ago – particularly frustrating when I think of this all taking place less than a hundred miles away from where I lived. While it may be an opportunity missed for me and a footnote in movie history, its nonetheless fascinating to make discoveries like these and ask the question to whomever might be reading now – were you there that night..?
Superfan Chris King is a purveyor of high-end replica props and figures – chances are you’ve seen a piece commissioned or initiated by him (especially if you’re a Star Wars fan) without even knowing it.
The above is a typical example of Chris’ unparalleled pursuit of the perfect replica to date unsurpassed by any licensed offering. Commissioned by Chris and sculpted by Philip Robinson, this chunk of solid, exquisitely cast resin was originally in six parts (body, head, hands & boots) and was clothed in a specially-tailored outfit sourced by Chris and fabricated by Philip, complete with heat-sealed emblems and vinyl belt.
There is also a Hot Toys connection in the piece lineage as the paintjob was applied by noneother than J.C. Hong – providing at least some idea of how the upcoming figure from Japan may eventually look…
