Why Superman Returns is the greatest blockbuster… | Little White Lies

Why Super­man Returns is the great­est block­buster of the 21st century

13 Jul 2016

Words by Mark Asch

Illustration of a man with black hair wearing a red and blue superhero costume against a cloudy sky background.
Illustration of a man with black hair wearing a red and blue superhero costume against a cloudy sky background.
Reject­ing the physics of an ever-expand­ing com­ic book uni­verse, Bryan Singer’s Super­man reboot has passed the test of time.

About a decade ago, we were in the mid­dle of the Big Bang in which all com­ic-book mat­ter began to expand out­ward into what we now know as the var­i­ous par­al­lel and rival Cin­e­mat­ic Uni­vers­es, those ever-more com­plex con­stel­la­tions of inter-film con­ti­nu­ity and over­seas pre­sales. A uni­verse” implies not just the basic block­buster promise of some­thing for every­one, but some­thing lofti­er, com­men­su­rate with the unearth­ly sums of mon­ey at stake. It’s not just a mat­ter of pack­ing a film with enough action, quips, sym­bol­ism and famous faces (“More stars than there are in the heav­ens,” went the old MGM slo­gan), but mak­ing sure that the uni­verse keeps expand­ing, until it’s so big that noth­ing out­side of it could pos­si­bly mat­ter. Uni­verse” is the new fran­chise” – a ver­bal tic betray­ing our insis­tence that these oxy­gen-suck­ing cul­tur­al behe­moths are not mere prod­ucts, but some­thing pro­found. Some­thing tru­ly universal.

But 2006 was a long time ago, at least for super­hero movies. Spi­der-Man was still a boy­ish nov­el­ty, the admo­ni­tion with great pow­er comes great respon­si­bil­i­ty” still bare­ly audi­ble over the swoosh of his webs. Bat­man had just begun on the sturm-und-drang per­sua­sive­ly authored by Christo­pher Nolan’s fresh intel­lect. Mar­vel was still assem­bling the Avengers, fran­ti­cal­ly buy­ing back the rights to its best-known char­ac­ters from oth­er stu­dios. And that same year, direc­tor Bryan Singer, who’d got­ten Marvel’s X‑Men off the ground for 20th Cen­tu­ry Fox, took on a sin­gle, icon­ic DC char­ac­ter in a sort of hybrid sequel-remake of Richard Donner’s orig­i­nal Super­man films.

Warn­er Bros released Super­man Returns on July 4th week­end. It was the first Super­man fea­ture in two decades. The film did… fine. It took in about $400 mil­lion world­wide, earn­ing back its bud­get. But Warn­er Broth­ers scrapped plans for a sequel, with one stu­dio exec grip­ing that the two-and-a-half-hour film didn’t fea­ture enough vio­lence (you know, for the kids). Warn­er Bros reboot­ed Super­man in 2013 in the shape of Zack Snyder’s Man of Steel, tak­ing the char­ac­ter in a dark­er” direc­tion clear­ly inspired by Nolan’s Bat­man films. The stu­dio final­ly achieved liftoff of their long-planned DC cin­e­mat­ic uni­verse when Snyder’s Bat­man V Super­man: Dawn of Jus­tice hit the­atres in 2016.

If Warn­er Bros seems more behind Sny­der than Singer, despite BVS receiv­ing com­par­a­tive­ly unfavourable reviews, it’s per­haps because Sny­der offers a stronger take” on Kal-El: his films are recog­nis­ably grey and self-seri­ous; lugubri­ous and vio­lent. Super­man Returns offers a tra­di­tion­al big-tent ver­sion of the char­ac­ter – though no one knows pre­cise­ly why it didn’t gal­vanise the world the way Super­man used to, and the way that Hol­ly­wood cir­ca 2006 could see that com­ic-book prod­ucts were begin­ning to again. Although many crit­ics liked (but did­nt love) Super­man Returns, the con­sen­sus among those who didn’t was that it was over­ly duti­ful, pon­der­ous and gen­er­al­ly over­awed by the whole Super-mythol­o­gy. (Again, 2006 was a long time ago for super­hero movies – they had no idea how bad it would get.) Mean­while, fan­boys found Super­man Returns too meta, too revi­sion­ist, too safe.

A person in a blue superhero costume with a red cape, standing in a dark, rainy setting.

In the run-up to Bat­man V Super­man, Sny­der explained away neg­a­tive respons­es to Man of Steel as the resis­tance of hard­core fans who didn’t want to see a vision dif­fer­ent from their own. Here, the strain of a career in cus­tomer ser­vice – which is basi­cal­ly what block­buster film­mak­ing is – begins to show. Today the vast major­i­ty of main­stream releas­es pitched to a pre­dom­i­nant­ly male audi­ence are based on pre­ex­ist­ing prop­er­ties, con­sid­ered safe invest­ments because they come with built-in fan­bas­es. This audi­ence is thus empow­ered to lob­by, vocal­ly, that the movie they’re being depend­ed on to pay for will indeed be the movie they want. Stu­dios go to great pains to assure fans that they’re on their side: they val­ue the same things they do about these beloved char­ac­ters and everyone’s on the same page about how impor­tant it is that this sto­ry be told the right way.

Super­man Returns is a movie about fan ser­vice – about what myths owe their pub­lic. A film in ambiva­lent awe of itself, it pal­pa­bly strains to live up to impos­si­ble demands: for com­ic-book zip, Amer­i­can Cen­tu­ry alle­go­ry, and enchant­ments at once com­fort­ing­ly famil­iar and new­ly thrilling; it’s a film like its hero, an Atlas whose shoul­ders are begin­ning to buck­le. A self-con­scious­ly clas­si­cal Super­man sto­ry, the film is com­mit­ted and self-dep­re­cat­ing, hit­ting the marks laid down by the orig­i­nal and most pri­mal com­ic-book arche­type – and also the most earnest.

There are corn­fields and crys­tals, bil­low­ing red capes and thick black glass­es. There’s John Williams’ tri­umphant score and even an unknown star, Bran­don Routh, who looks like Christo­pher Reeve (who had died in 2004). The film fea­tures grandiose reli­gious themes, and the voice of Mar­lon Bran­do as Superman’s father. Its palette is bright, sky blue and sun yel­low. It’s also ten­der and melan­cholic, almost mourn­ful, about its super­hu­man celebri­ty and sav­iour. The film can hard­ly be said to suc­ceed on its own terms, because it doesn’t have its own terms – but 10 years on, Super­man Returns seems both wit­ti­er and wis­er than any sub­se­quent attempt to ful­fil or inter­ro­gate the demands of the super­hero film cycle.

In Super­man Returns, Super­man lit­er­al­ly returns to Metrop­o­lis after five years of soul-search­ing in space, to find Lois Lane (Kate Bosworth) shacked up with a new fiancé (James Mars­den), the Pulitzer-win­ning author of the arti­cle Why the World Doesn’t Need Super­man’. Whether or not he’s an out­dat­ed incar­na­tion of truth, jus­tice and the Amer­i­can way,” though, he’s soon enough tear­ing open his dress shirt and tak­ing flight, to res­cue an out-of-con­trol jet­lin­er and land it safe­ly in a base­ball sta­di­um, and reas­sure the pas­sen­gers with a corny joke. (This is one step in Lex Luthor’s devi­ous plan; the sequence begins in a base­ment as he and his hench­men mess with an elab­o­rate toy train set, and esca­lates from there.) When he next takes to the air again, he descends to vis­it Lois’s house, and lev­i­tates out­side, alone. He flies so grace­ful­ly, light and lyrical.

Singer seems to have found his lev­el in com­ic-book adap­ta­tions. He has an eye for splash-pan­el com­po­si­tions, here fit­ting Superman’s fist-for­ward fly­ing pose across the length of his widescreen frame. His bet­ter films mix campy per­for­mances with an epic sweep that’s child­like with­out being con­de­scend­ing. The actors in Super­man Returns get it right: Routh’s gen­tle voice is coun­ter­bal­anced by Kevin Spacey’s super­cil­ious paus­es, and Park­er Posey’s blar­ing bore­dom, as Lex’s side­kick. The action set pieces are clever and the cam­era nev­er los­es its sense of scale. Most potent is the moment when Super­man, hav­ing car­ried a mas­sive hunk of Kryp­tonite up into space and hurled it out of Earth’s orbit, col­laps­es, exhaust­ed from his super­hu­man efforts, and lets grav­i­ty take over. As he descends, Singer’s sym­met­ri­cal wide shots and the sea of extras gape in aston­ish­ment at the man who fell to earth.

What do you think is the great­est block­buster of the 21st cen­tu­ry? Have your say @LWLies

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