Photo Courtesy of Warner Bros.Its about time. For those of us who grew up on Christopher Reeve as the Man of Steel, we figured it was all but impossible to improve on perfection. Forget the two asinine sequels after Superman 1 and 2, the first two movies, directed by Richard Donner are iconic, not only for the impressiveness of the special effects (don't forget kids, this is pre CGI) but for the ideal casting. The late Christopher Reeve was note perfect in the title role, infusing the god-like icon with a twinkle of humour and dry wit, while making Clark Kent a veritable Harold Lloyd in his clumsy well-meaningness. Indeed, watching the movie again (as I did recently before seeing the new installment) I found myself marvelling at Reeve's performances, because he really does create two fully separate characters, sometimes within the same frame of one shot. Its a testimony to his gifts as an actor that it has become a benchmark some twenty-seven years later. Its hard to believe at times that one actor performs both parts so perfectly. But what's a Superman without Lois Lane? Matching Reeve's brilliance was Canadian Margot Kidder as the ultimate Lois Lane, capturing the feisty newshen's brash, wildly funny, spunky sexiness. You could see why ANY man, much less Superman would fall for such a spitfire. Jackie Cooper made an ideal Perry White, and Gene Hackman, a comical Lex Luthor, infused with an undercurrent of menace. Ideal icons, all.
The new film, Superman Returns, is, I'm happy to say, almost perfect. Bryan Singer was the perfect director for this granddaddy of superhero movies, having proved his mettle so ably on the X-Men movies. He gives this Superman a sort of 30's feel to it, not only in the costume, but in the romantic quality of the movie. The heart of this movie really is a three-sided romance, as well as being the story of an outsider who just wants to fit in. The Reeve films were a little more cynical and sure of themselves in their approach, more adult in their thinking. This Superman is still a young man trying to figure out where he belongs, and even IF he belongs. The special effects, need I say are impressive, but I found the most impressive shots were just of the man of steel flying quietly by himself, surveying the planet, a lovely guardian angel floating in the breeze, hovering over our heads, flying into the sunset. Singer was smart enough (and I think, a fan of the first two movies) to use the original majestic John Williams score, as well as the still gasp-inducing opening title credits. At two and a half hours, the pacing doesn't flag at all I found. Some will carp a bit about some slowness in the middle, but plotlines come at a price my dears. It can't ALL be saving the day moments. But those are small peccadilloes. The interesting thing I kept noting, was how this movie, in many ways, was a remaking, or revamp of the original 1979 film, even with entire segments and lines taken out of the first film. Its a clever conceit, and it works, for as the world has to reacquaint itself with Superman, Singer gives us something familiar to hold onto while we get our bearings.
The film itself isn't perfect, but it certainly stands up against the first two films ably, (the plot continues on five years after the end of the second movie) and thank God, Brandon Routh more than competently handles the title role. At times he almost seems to be channelling Reeve's performance, as his voice is eerily reminiscent of the late actor's, but those are only moments, and for the most part, he infuses the part with a quiet, wounded, shy dignity that is new in this character's lexicon. Superman's been dumped, and not just by Lois Lane, but by most of humanity as well, and the lesson sits hard upon him. Routh gives the man of steel a real sense of being an outsider, somebody desperate to fit in, but like the new kid in school, shy and unsure of quite how to manage it. So he does what he does best, saving airplanes falling out of the sky, foiling bank robbers, and generally saving humanity from cataclysms of all sorts. For him, it seems to work, although Routh always gives you the sense that the character wonders if this is, or will ever be, enough. His work as Clark Kent is wonderfully goofy, and nerdish. In one lovely little moment, James Marsden (as Lois' new paramour, Richard White, in a winningly difficult role) asks Lois (Kate Bosworth) if Clark reminds her of Superman, at that moment, Clark turns and waves goofily at them, completely dispelling the idea. Routh's reaction wasn't over the top, just a friendly, silent, "hello", but it did so much to lay out the character's awkwardness that I applauded. There were many moments like that which grounded the character's real awkwardness in trying to fit in. Its a clever recurring plot note that Clark is unable to find a place to live throughout the entire film, highlighting the alien character's struggle to find his own place to fit in amongst these humans. This film will undoubtedly make Routh a huge star, but unlike Reeve, who seemed never able to shake the iconic status of the role despite the excellent work he did in later years, I suspect that won't happen to Routh. He has an intensity onscreen that is mesmerizing to watch (catch his reaction as he flies away after overhearing Lois say she never loved him) and he handles himself very, very well with established veterans like Spacey, Saint and Langella. Routh, I suspect, has the makings of an excellent light comedian, should he ever be given the chance outside of this series.
As to the problems in the film, well, there was really only one; Kate Bosworth's performance as Lois Lane. It isn't fair to compare an actor's performance to a predecessor's, although it seems to be human nature to do so. Part of the fun of Superman and Lois Lane is that Superman is, a lot of the time, like an overgrown boyscout. Lois is, a lot of the time, a hellion who lives to get into trouble. She's scrappy and tough. The juxtaposition and jarring nature between the two is what has made them work for the last sixty years. The character was conceived in the 1930's, during the Depression, where ballsy women like that were all over the place onscreen. Lois Lane is frighteningly direct and a fierce go-getter. Which makes Bosworth's portrayal of her all the more disappointing.
Kate Bosworth simply wasn't cut out for Lois Lane. For one thing, she's too young. She looks like a college co-ed, not a driven career woman with a five year old child. She acts ably, and earnestly, and maybe that's the problem. She's too earnest. Lois is supposed to be feisty, messy, funny and rebellious. The woman has a mouth on her. Bosworth is too elegant, too serious, and ultimately, too dull to be of much interest to watch.
In interviews she's stated that she watched old Katharine Hepburn films to capture what she saw as the character's rebelliousness. Which when I heard that, I thought, "Great idea. And perhaps a big dose of Rosalind Russell in HIS GIRL FRIDAY, and any Carole Lombard film wouldn't hurt either." Lombard was as mouthy and rebellious as they come. Check out her fistfight with Fredric March in NOTHING SACRED and ask me what kind of Lois Lane SHE would have made. At any rate, as a fan of these actresses, and a die-hard Kate Hepburn film fanatic, I can tell you truthfully, I saw little or nothing of that here. Oh alright, maybe she had the hair, but that's about it.
At any rate, such confessions make Bosworth's lassitude all the more puzzling. Erica Durance, who plays her youthful version on the tv show, Smallville, has exactly the right note of kickass rebelliousness. As did Kidder. When Bosworth lights up a cigarette to exemplify the character's balky streak, its like watching Sandra Dee trying to tough it up. (Is it any coincidence that Bosworth's last part was playing Sandra Dee opposite Kevin Spacey in the seldom-watched UNDER THE SEA, the Bobby Darin bio-pic?) We're left with an almost laughable, "So what?" reaction. You keep hoping she just won't burn herself.
For example, when she finally confronts the Man of Steel on his desertion, she plays it almost tearfully, and yes, it is an entirely justifiable reaction to be hurt and tearful when the man you love has left you without a word for five years, but the fact is, it just isn't very interesting. And not very Lois Lane, at all. Or at least it's not everything I've ever come to know about the Lois Lane I've read about and seen for the last thirty-seven years. I can't imagine Kidder being all tearful if Superman took off on her. I expect the least of her reactions would have been a searing tongue lashing that would have peeled the big red S right off his chest, and left him begging for Kryptonite. Or at least a stiff right hook to the jaw, which probably would have busted her hand, but still....that's Lois, she leaps before she looks. THAT would have been more in character, at least to the character I know. Nothing Bosworth does, seems to at all.
That said, the movie otherwise was fine. No, don't laugh, seriously it was. Kevin Spacey was fine as Lex Luthor, although, as a friend of mine noted, he can't resist hamming up the dark parts of Luthor's character. Parker Posey was brilliant, and I hope they keep bringing her back for the projected sequels. James Marsden as Richard White (after leaving Cyclops and X-Men franchise) proves a likable alternative to Superman, in that you can at least understand why Lois wouldn't wait around when she had this capable Adonis to turn to. Eva Marie Saint was a special treat as Martha Kent, and like Parker Posey, I hope she's around for future installments. Her scenes with Routh were quite moving. An interesting side note, this is the second time she and Marlon Brando (although deceased) have been (indirectly) onscreen together. Check out an earlier little film of their's, called ON THE WATERFRONT.
Singer and his mob should be justifiably proud of the work they've done. It isn't easy to recreate a legend, much less get it to fly, but in SUPERMAN RETURNS, they've done it. The Man of Steel soars.
