If any nation would believe a man could fly, it’s America.
1978’s “Superman” literalizes the level of extraordinary ability America expects of its residents. It’s rather fitting that Mario Puzo had a hand in the script; like his book “The Godfather,” “Superman” is a sprawling saga of the American Dream, telling of one foreigner’s big splash in the land of opportunity.
If you take out the superpowers and sci-fi spectacles, the film plays out like an epic American biopic in the vein of “Citizen Kane” or “The Aviator,” tracking a humble man’s journey from the farmlands to the big city and his transformation from a small-time newspaper man to a public hero. Therein lies the real magic of “Superman;” director Richard Donner presents it like any other American story rather than a superhero spectacle. That’s not to say its fantastical elements are not presented in a dazzling fashion, however.
From John Williams’ rousing score to star Christopher Reeve’s graceful flying, “Superman” is terrifically entertaining. And in this age of grittier comic book films, this wholesome adventure remains exciting. Like "Iron Man," "Superman" is cool, feel-good fun. It also offers an embarrassment of visual riches, from the luminous surface of Superman's home planet Krypton to the lush plains of Smallville and the steely city of Metropolis. The scale of the production is stunning, but style never triumphs over substance in "Superman."
The film’s only somewhat glaring error is the villain Lex Luthor’s lack of menace. However, given the fact that the film is largely about the American Dream, it does seem fitting for the villain to be a smarmy investor fueled by capitalistic greed. Engagingly played by Gene Hackman, Luthor exudes sleazy charm rather than ominous evil.
Superman and Luthor have some fun standoffs, but the heart of the film is the relationship between Superman and Lois Lane (charmingly portrayed by Margot Kidder). What’s most engaging about it is the way Lois seems to fall for him not because of his powers but because of his good-hearted nature. A large credit for the film’s poignancy in this regard goes to Reeve, who plays the titular character as a man first and a superhero second.
I hope to see that same purity in the upcoming Superman film, “Man of Steel.” But I’m worried given the fact that director Zack Snyder (“300,” “Watchmen”) has a tendency to dehumanize heroic characters by over-stylizing them. Hopefully producer Christopher Nolan reminded him that Superman is more interesting when he’s more man than super.
Before you rush out to see "Man of Steel" on June 14, give "Superman" another look. It's the kind of film that will send a tingle up your spine, the kind that will make you understand the meaning of movie magic. And it set the standard for all superhero films to come.
Fun Fact: When I was born, my brother wanted my parents to name me Superman. They compromised and made my middle name Clark, as in Superman's alter ego, Clark Kent, who happens to be a writer, too!