Man of Steel

Grounding Superman

by Hunter Isham

        It's been seven years since we last saw Superman on the big screen, and that film, Bryan Singer's Superman Returns, came up a bit short where Zack Snyder's Man of Steel succeeds, although the opposite can be said as well. Returns was both a throwback to and continuation of the Richard Donner Superman films that starred the irreplaceable Christopher Reeve, even featuring the now famous John Williams march that helped the audience believe that a man could fly. It's moments of reverence proved to be what held it back from being the smash hit Warner Bros. wanted, and so here we are, with Christopher Nolan's (a writer/producer on this film) Dark Knight Trilogy concluded, a shortage of DC Comics characters on the screen, and the competitors at Marvel riding high on their Avengers-laiden cinematic universe. Superman is arguably a bigger cinematic hero than Batman (or at least he was before Nolan's films), and if Warner Bros. wants to reach Marvel-ous heights without rebooting and retreading Gotham's caped crusader, they need a fiscally robust Clark Kent to propel them forward.
        Reversing directions of the often upbeat Superman Returns, the studio accepted a story pitch from Nolan and co-writer (and sole screenwriter) David S. Goyer that poses the question of how humanity would react if it found an individual as strong as Superman among its own. An essentially indestructible, one-man weapon of mass destruction. We'd probably be wary that his interests lay with our own. This, and the film's non-linear structure, are what give it an interesting edge, and they're what make the film worth seeing. Somewhat strangely, the film begins to stumble as it heads into its massive action climax, but at least they deliver enough story in the first half to make me want to see the next installment.
        That story is a smartly rewritten and rearranged version of the origin story we all know, the one that is prominently featured in Richard Donner's Superman: The Movie. Kal-El, born on Krypton to Lara (Ayelet Zurer) and Jor-El (Russell Crowe), is sent from his soon to be destroyed planet to Earth, home to flawed but potentially capable individuals. After crash landing in Kansas, he's discovered and raised by Jonathan and Martha Kent (Kevin Costner and Diane Lane). Swap in Marlon Brando for Crowe and we're back in 1978 again, right? Wrong. This Krypton is more than the background for a quick prologue, it's the fuel that keeps the villain crusading against Superman, not to mention a cinematic science fiction marvel to look at. Once Kal-El leaves his homeworld, the majority of the film is spent in the present day, as a grown up Clark Kent (Henry Cavill) lives out his days as a drifter intent on using his world-changing powers as little as possible. The film often flashes back to Clark's younger years, when he learns to reconcile his human home with his alien abilities, all under the guidance of his adopted father. When Clark eventually discovers who he really is (this time under the guidance of a simulated Jor-El), he begins his journey as the Man of Steel, a process that is accelerated as the last survivors of Krypton, a militant group led by the snarling General Zod (Michael Shannon), come looking for him.
        All of this works fairly well, but my enjoyment of the film was suspended as the following action continued. It begins with a good ol' brawl in Smallville (the Kents' hometown), and it continues into Metropolis. But then it ends... until it continues some more. If you see Man of Steel, you'll know what I mean. Part of the problem with the Metropolis action is the sheer scope of damage done to the city (quite a bit is already done to Smallville). Buildings collapse and city blocks are razed, leaving me wondering how the big blue boy scout could allow so much collateral damage. Even forgiving that destruction, the mass-anihilation that occurs during Superman's final confrontation with General Zod will make your jaw hit the floor given that it's just two people fighting. Punching most often, which is another problem entirely; after so much action, the super-sonic punches that the Kryptonians deliver to each other get a bit derivative (there is some human action going on as well, but not as much). Much of the action in Man of Steel is quite spectacular, but don't count on leaving your seat until the last punch has been thrown, not that you should or could keep count.
        As you may have guessed, the character elements of this film are its saving graces, and a lot of that has to do with its wonderful cast. Henry Cavill, though not given as much of the character's trademark levity as Reeve, is perfect for the role of Clark Kent/Superman, providing the proper amount of confusion and solemnity, with just a few sly remarks that inform where this character is headed in the sequel. Crowe is solid as the regal and intelligent Jor-El, although it's Costner who tugs at your heart strings as the young hero's moral center. He brings Jonathan Kent a wisdom and uncertainty that informs this film's take on the character of Superman, guiding his son as to when the right time will be to step up and become the hero he was born to be. Diane Lane, though not given as much to do, is equally good, struggling to help her son deal with his inherent differences. Michael Shannon is appropriately angry and imposing as General Zod, although he lacks the trademark interesting quirks of a Joker, or (as is the case in the Superman mythology) a Lex Luthor. One of the film's undeniable strengths, a character and actress I have yet to mention, is Amy Adams' Lois Lane. Superman's persona of "Clark Kent, bumbling reporter" doesn't really appear until the film's conclusion, so there's no screwball comedy intrigue between the thinly veiled Superman and his whip smart colleague. Instead, Adams gives us an intrepid reporter who is tracking a mysterious, godlike drifter, until their paths eventually cross (this film doesn't waste time by retreading a will they/won't they scenario involving Kent's true identity). Lane has plenty to do in Man of Steel, and we can be thankful for the fact that she will likely have even more in any future films. The rest of the cast is excellent, including Harry Lennix and Christopher Meloni as members of the U.S. military, Richard Schiff (Toby from The West Wing!) as a military scientist, and Laurence Fishburne as Perry White, Editor in Chief of The Daily Planet.
        Man of Steel is an attempt to ground Superman in a more serious reality, much like Christopher Nolan's treatment of Batman. Director Zack Snyder and his creative team mostly succeed, forging a new path for the character, although they go too dark at times, losing the winking humor the character is known for, and making the action too thunderously derivative of itself to enjoy beyond a certain point. The fantastic cast saves the film, as does an invigorating score by Hans Zimmer that bares no resemblance to the Williams music, making this the rare summer movie that does more right with its characters than it does with its action. If you make it through to the film's climax, its epilogue will hopefully leave you with the notion that Superman is in the right hands, headed in the right direction, even if he faces his share of turbulence on the way there. I'm more than curious to see where Snyder and Goyer take Clark Kent, as I hope we get a few more jokes and a more interesting foe next time. Man of Steel is the Superman film we asked for, if not the one we need, and if the filmmakers keep listening to the audience, we may actually get the Superman movie we deserve. 7.75/10



P.S. I saw this film in 2D Imax (the film already has a drab, desaturated look, so the tint from 3D glasses will likely make for an unpleasant viewing experience), and while it looked great on a massive screen, its very loud soundtrack was too much to handle on the powerful sound system that comes with those 70 ft. screens. It may have just been where I saw the film, but if you value your ability to hear things, you may want to go with a conventional screening.