SUPERMAN II: THE RICHARD DONNER CUT

Ursa and General Zod blow the hell out of Grand Central

SUPERMAN II (1980). The Richard Donner Cut.

Richard Donner, who directed the first Superman, did a lot of work on the sequel -- the two were filmed concurrently, actually -- before being fired. Some of his work was redone by the director of record, Richard Lester. This cut assembles the version as it might have looked in theaters if Donner had not been dismissed.

At the end of Superman, the Man of Steel (Christopher Reeve) stops Lex Luthor's missile from wiping out California, but he doesn't realize that the explosion of this same missile in outer space has freed three notorious and vicious Kryptonian villains from their prison, the Phantom Zone. Hulking Non (Jack O'Halloran), bitchy Ursa (Sarah Douglas), and imperious General Zod (Terence Stamp) make their way to earth where they find they have developed the same powers as Superman. Before long they have invaded the White House where the not-so-good general forces the president (E. G. Marshall) to his knees. "Oh, God," says the president. "Zod," corrects the general. Where is the man of steel? Lois Lane (Margot Kidder) has finally figured out his secret identity and the two make love in his Arctic Fortress of Solitude. Then Superman decides to quit being the Man of Steel, always off saving the world, so that he can spend his life with Lois; he uses Kryptonian technology to do this. (This begs the question: since it was Superman that Lois fell in love with and not Clark Kent, would she really want him just as an ordinary human?) Too late, he discovers what has happened in Washington D.C., and makes his way back to his fortress as an ordinary man ... what a guy -- he doesn't even wear gloves! Conveniently, he is able to get his powers back.

The centerpiece of the film in any version is the battle between the revivified Superman and the three villains in New York City (rechristened "Metropolis," of course). Beautifully shot, edited, and choreographed, this sequence remains one of the best superhuman battle scenes in any comic book movie. (Today's super-hero films often present very sloppy and poorly articulated battle sequences.) A special highlight is when the bad guys use their super breath to literally blow dozens of pedestrians -- who are after their blood after they seem to have killed the Man of Steel -- down the streets near Grand Central Station. Buses are thrown, towers are toppled, Zod and his colleagues bounce Superman around and vice versa, and the special effects throughout are still outstanding.

This version (and probably the theatrical version as well) of Superman II has its problems, mostly having to do with Gene Hackman and his cohorts, played by Ned Beatty and Valerie Perrine. The movie is "adult" enough to show Lois and Superman in bed (although this is by no means a sex scene), so why does it have such stupid humor as Perrine flushing a toilet in the Fortress of Solitude? These campy characters never fit comfortably into this or even the original movie anyway. Hackman gives a perfectly good comic portrayal, but his presence is not required. The sequences with him are tedious, and there is dialogue in the film that betrays a dated seventies sensibility. Continued from the first film, the whole business with Superman's dead father, Jor-El (Marlon Brando) somehow counseling his son, raises more questions than it answers. Anti-climactic and twenty minutes too long (even it it's shorter than the theatrical version), Superman II is nevertheless a very worthwhile comic book flick. Reeve and Kidder are fine but the picture is nearly stolen by Terence Stamp, who makes a rather sexy and very sinister General Zod -- it's a terrific performance. And he is nearly matched by Sarah Douglas as the strutting, sexy, and highly anti-social Ursa. John Williams contributes his usual effective scoring, and Geoffrey Unsworth's cinematography is first-rate. As in the first film, Superman reverses time again, so that Lois no longer knows his secret identity (this was done differently in the theatrical version, I believe), but that insures that events that no longer could have happened are referred to afterward -- confusing, as usual. Followed by Superman III.

Verdict: Worth it for the Times Square battle if nothing else. ***.

SUPERMAN IV: THE QUEST FOR PEACE

Margot Kidder and Christopher Reeve take flight

SUPERMAN IV: THE QUEST FOR PEACE (1987). Director: Sidney J. Furie. (Based on a story by Christopher Reeve).

The Daily Planet, where Clark Kent (Christopher Reeve) and Lois Lane (Margot Kidder of Black Christmas) work as reporters, becomes the casualty of a hostile takeover by a sleazy tabloid king (Sam Wanamaker) and his pretty daughter, Lacy (Mariel Hemingway of Manhattan). In a more significant development, a young boy writes to Superman that he should make the world safe by getting rid of all nuclear missiles. The Man of Steel complies, sending the missiles hurtling into the sun, but then has to face a solar-spawned nightmare in the form of Nuclear Man (Mark Pillow), created by the nefarious Lex Luthor (Gene Hackman of The Firm) and his zany nephew, Lenny (Jon Cryer). Upon its initial release, Superman IV was excoriated by fans and critics alike, but it's always been a fun, entertaining movie that truly resembles an eighties (or perhaps a seventies) Superman comic book. Hackman and Cryer dumb down the story, yes, but are not too intrusive, Kidder and Reeve are fine, as always, and Mariel Hemingway scores as Lacy, the "rich bitch" who turns out to have both a brain and a heart. Mark Pillow certainly looks menacing and turns in some highly effective pantomiming as Superman's nuclear adversary. One amusing sequence has Clark/Superman using his speed powers to date Lois and Lacey at the same time. But the highlight of the film is the protracted battle between Superman and Nuclear Man (as well as the magical sequence when Superman takes Lois for a flight). The film's special effects work came in for criticism, which I have always found perplexing, as I find the numerous process shots in the film to be seamlessly done and very striking. Superman once again reveals his true identity to Lois, and once again he hypnotizes her into forgetting it (this is a fine romance!) There are signs of post-production tampering, as the continuity is confusing, and it's never made clear exactly why Nuclear Man kidnaps Lacy at one point. John Williams' score is excellent and there is top-notch cinematography from Ernest Day, including one especially good shot when Nuclear Man spirals his way down into an active volcano. Although this, like the previous films, is supposed to take place in "Metropolis," this is clearly New York City.

Verdict: Great battle and a lot of comic book style fun. ***.

DEATHTRAP

DEATHTRAP (1982). Director: Sidney Lumet. Based on the Broadway play by Ira Levin.

"I'll tell you how good it is -- even a gifted director can't hurt it."

If only ... Playwright Sidney Bruhl (Michael Caine) is dismayed when his latest offering is trashed by the critics, even though his faithful and wealthy wife Myra (Dyan Cannon) remains his biggest booster. When he reads a play written by Clifford Anderson (Christopher Reeve), a student of his, Bruhl hatches a plot to steal away the script anyway he can. But things are a little more complicated than at first they seem. Caine and Cannon are superb, and Reeve offers one of his best performances, but while the film is entertaining and has a few twists, the characters remain one-dimensional and the film is, ultimately, just a psycho-sexual stunt. A better writer could have made something out of the generational difference between two of the protagonists and their perhaps divergent attitudes toward their sexuality -- all of which seems thrown in just for some added "shock" value and is never explored with any depth or intelligence. [Even in 1982 a film that basically traded off "nasty queers" was pretty dated; meaning the movie was hardly "hip" as its makers must have thought] Irene Worth is irritating as a psychic neighbor, but Henry Jones is, as usual, adept as Bruhl's lawyer. Lumet turns in one of his better directorial jobs although he's certainly no Hitchcock.

Verdict: Not as much fun as it sounds. **.

SUPERMAN: THE MOVIE

SUPERMAN: THE MOVIE (1978). Director: Richard Donner.

NOTE: This review is of the expanded "Richard Donner" cut.

Thirty-two years after its initial release, Superman still has its charms although it's also lost some of its lustre. The early sections of the film, meant to be stately, are so deliberately paced that they border on the tedious, and the film almost completely sinks with the introduction of the moronic trio of villains played by Gene Hackman, Valerie Perrine, and a shameful Ned Beatty. [With the rich history of the Superman character and all of his many foes, that was the best they could come up with?] At times Superman nearly sinks to the level of the sixties Batman TV show, but if it's saved by anything it's saved by those magical flying sequences when the movie itself really takes flight. Superman going out on patrol and his taking Lois Lane for a ride are probably the best sequences in the movie. The performances of Christopher Reeve [it's hard to think of his sad and ironic fate] and Margot Kidder are assets, as is the musical score by John Williams. The crystalline motif for Krypton is a little weird, as is the slightly ossified performance of Marlon Brando. The whole business with Jor-El's (Brando) ghost somehow mentoring his son doesn't really make sense, and the the time travel business at the end of the movie is too confusing. Still the movie overall is entertaining, and better than the more recent Superman Returns.

Verdict: You'll still believe a man can fly. ***.

SUPERMAN III

SUPERMAN 3. (1983). Director: Richard Lester.

In this entertaining if very silly movie the Superman series has basically been refashioned into a comedy showcase for the undeniable talents of comedian Richard Pryor. In this he plays August Gorman, who after a term of unemployment finds his niche working with computers for a company owned by Webster (Robert Vaughn) and his sister Vera (Annie Ross). (Webster also has a "psychic nutritionist" named Lorelei who acts like a bimbo but turns out to be more intelligent – relatively – than anyone supposes.) After Gorman manages to cleverly steal a large amount of money from Webster’s company, Webster has him use his "talents" to control the weather and then to try and destroy Superman himself. ("I ask you to kill Superman and you can’t do that One Simple Thing!" rants Webster.) Lois Lane has little to do in the film – appearing only at the beginning and end – with Lana Lang (Annette O’Toole) taking center stage in scenes taking place in Smallville. An imperfect recreation of Kryptonite turns Superman "evil" and sexier (he even sleeps with Lorelei, it is suggested) until he has a big battle with himself in an auto junk yard. At one point Superman uses his breath to freeze an entire lake and melt it on top of a nuclear plant that’s on fire. (It’s a question why he doesn’t use his freeze breath to lower the temperature in the reactor room.) The climax has Superman tackling a huge super-computer built to Pryor’s specifications. Christopher Reeve and O’Toole are fine in the film with Pryor getting most of the running time and running with it in fine fashion.. Vaughn is quite hilarious as Webster, and Ross nearly steals the picture as Vera. The effects are first-rate and while there are dumb moments, this is basically good-natured, likable nonsense, if little for the intellect.

Verdict: Fun if you're game. ***.