Superman Returns (2006)

Directed by: Bryan Singer | 154 minutes | action, animation, adventure, fantasy | Actors: Kevin Spacey, Brandon Routh, Kate Bosworth, James Marsden, Frank Langella, Sam Huntington, Eva Marie Saint, Parker Posey, Kal Penn, Stephan Bender, Marlon Brando, David Fabrizio, Rob Flanagan, John Ghaly, Ashraf Ghebranious, Raelee Hill Adrian Jarrett, James Karen, Jack Larson, Mike Massa, Ted Maynard, Noel Neill, Ian Roberts, Jennifer Sciole, Paul Shedlowich, Vincent Stone, Jeff Truman, Peta Wilson, Warwick Young, Darren K. Hawkins, Paul J. Mailath

When it became known that Bryan Singer would be directing ‘Superman Returns’, all fans could breathe a sigh of relief. Twenty-six years have passed since the last respectable Superman film saw the light of day, 1980’s ‘Superman II’, which was largely shot at the same time as part one. We want to forget the Richard Pryor vehicle ‘Superman III’ (1983) and the generally regarded as abysmal ‘Superman IV: The Quest For Peace’ (1987) as soon as possible, and it is perhaps also due to the quality of these films that people were so nervous about a new film about the Man Van Staal. Many directors have passed in review, from Kevin Smith to Tim Burton, who have come up with the most diverse ideas. But Bryan Singer has proven to have a winning approach to superhero movies. His apparently contradictory combination of a respect and good eye for the essential elements of the original characters and storylines of the world of the superheroes in question, on the one hand, and his habit of approaching the characters and their stories in a human, recognizable way, on the other hand. precisely not as cartoon characters, ensured that his two ‘X-men’ films became a great commercial and critical success. So when Singer decided to hand over his ‘X-men’ franchise to director Bret Rattner and take the helm of the return of the superhero of all superheroes himself, expectations were rightly high. After all, if there’s anyone who can breathe new life into this hero on the silver screen, it’s Bryan Singer.

With “Superman Returns,” Singer proves he’s a worthy director to introduce Superman to a new generation of movie buffs. Kal-El flies as Superman more impressively and realistically than ever before in his blue suit and red cape to save the earth from evil. And the characters and locations seem to have never been gone. The editors of the Daily Planet still have the same chaotic atmosphere, glass doors and shades of brown, Superman’s fortress of loneliness is the same crystal base as before, with even the same ghost form of “Supes” father Jor-El (Marlon Brando) reappearing, with the same dialogue about humanity and Superman’s job. Lex Luthor has structured an almost identical location as “the old days” by surrounding himself with bookcases and, just like in the first Superman movie, he wants to make the world dance to his will again by creating a piece of private land and a portion of America. wipe off the map; Martha Kent is still the same loving foster mother to Clark, living in the same farmhouse in the picturesque countryside of Smallville; editor-in-chief Perry White still wants as much news about Superman in his Daily Planet as quickly as possible and barks orders at his staff in the same way; photographer Jimmy Olsen provides the occasional funny comment; and Lois Lane’s heart still beats passionately for the irresistible man with the “S” on his chest. Although, this last aspect seems a bit dubious at first, and it’s here that Singer shows the biggest, and almost the only, change from the original.

Lois Lane is no longer as enthusiastic about Superman’s presence as before, and this provides both a welcome change of tone and a flawed dynamic in her relationship with the superhero. In the original, Margot Kidder showed an interesting contrast between her playful demeanor and romantic, looking upbeat attitude towards Superman on the one hand, and her snappy attitude towards his alter ego Clark Kent. In ‘Superman Returns’ she is mostly distant for the first half of the film, towards both characters. While her disillusionment with Superman’s five-year absence is understandable—she even won a Pulitzer Prize for an article called “Why the World Doesn’t Need Superman”—it takes away a lot of the fun that came from these various interactions between Lois and Superman. on the one hand, and Lois and Clark on the other. Still, in the end it was a good decision to give the relationship a different, complicated impulse with this film. After all, conflict situations in a physically invulnerable, all-powerful superman must primarily arise from inner, emotional dilemmas. Can he even build a (romantic) relationship with a human being, for example? Here, this question is further underlined by Lois plunging into a relationship with Richard White. When we see this character shake hands with Clark, many a lover of the “X-men” movies will have to smile because of the actor who plays this role, namely James Marsden. In the film we see two types of competitors shaking hands: Richard and Clark, who both fight for the heart of Lois, but also Superman and Cyclops, two superheroes with different worlds and creators.

Aside from the added Lois complication, the film unfortunately lacks enough novelties to have its own character, and really get off the ground and shake the world to its foundations. He comes close, but Singer seems to have too much respect for his predecessor with all the recognizable characters, locations, and dialogue. Often there is even a one-to-one relationship with the ’78 film. And while these individual situations or aspects, such as Superman’s comment after a truly breathtaking rescue that includes an earthquake and space shuttle that “flying is still the safest mode of travel”, that Lois should not smoke, an exact taken from the original shot of people-watching televisions in the shop window, where Superman’s actions are shown, are often a feast of recognition when they take place, all together this makes practically the entire film a great homage to the original, including the great original theme music by John Williams, and the style of the opening titles (which, however, now “flash”, in a nice “touch”, towards the viewer rather than away from him, referring so stylistically to the return of the superhero). It’s almost a remake.

But fortunately it has become a remake that has been performed strongly. The action sequences in the film may not be frequent, but they are long and a joy to watch. It’s spectacle at its best, with footage of Superman bailing out planes, flying through underground shafts full of fire, shooting bullets from his chest and even, in slow motion, his eye. On a large IMAX screen and (in some scenes) in 3-D, you don’t know what you’re seeing at all. But Superman’s effects or special powers are also used in pretty subtle ways, without major or life-threatening situations at play. For example, in a romantic moment, Superman uses his ability to see through objects to keep tabs on Lois Lane as she walks away from Clark in the Daily Planet’s office and steps into the elevator. Clark looks through all the doors, including the elevator, so as not to lose sight of her. Beautiful.

The actors are also doing well. Spacey is an entertaining villain, and as Lex Luthor, he is next to none other than his colleague Hackman from the original film. He brings his own icy animosity with him, with a touch of perspective humor and cartoon character lightheartedness. Only a few over-the-top moments don’t seem to fit his own approach, and seem a bit contrived. Kate Bosworth plays her part in a realistic way and, although she is actually a bit too young to play the veteran journalist Lois Lane who already had a long history with Superman five years ago, comes across dramatically believable. But the biggest question, of course, is how newcomer Brandon Routh does in the title role. It can rightly be said that the Superman costume fits him like a glove. He’s tall, handsome, and even resembles ’78 Superman Christopher Reeve. Like Richard Donner at the time, Singer chose to choose an unknown actor for the central role because it is paramount that the audience has no other associations with the actor in question. Then the magic would be broken. We should see Superman purely as such. In fact, Superman takes on three guises in the film: as Clark Kent in Smallville, where he can be himself, as Clark Kent the journalist, in which he has to amplify his clumsiness so as not to be confused with Superman, and as the Man Of Steel himself. , which must appear powerful and irresistible. Overall, Routh is a good choice. His own rural background makes him believable as the Smallville native, and as the journalist Kent, he has ably mastered the same tics and behaviors of Christopher Reeve, such as repeatedly pressing his glasses firmly on his nose. And as Superman, it’s a tough and powerful personality. Yes, he lacks some dramatic range and has a little less chemistry with Lois Lane than Reeve had, but overall he comes across as a believable savior of humanity and his neutral, slick appearance is just consistent with the nature and function of his character .

Singer has delivered a nice calling card with this film by showing how to deal with this particular superhero. He has re-introduced everyone to the Superman universe and its iconic characters. The Man Of Steel flies again. It is now only a matter of time before all the stops are pulled out and a truly unique ‘Superman’ film sees the light of day. ‘Superman Returns’ is lovely as a finger exercise and re-acquaintance, but the wait is for a film that will truly take off and take the world by storm. The important thing now is that Singer has given us hope for this again.