Sunday, July 30, 2006

 
A few more comments on "Superman Returns"

My esteemed collegue, Goatboy, summed up many of my thoughts about "SR", but there are a few points that I still feel need to be addressed.

(WARNING - LOTS OF SPOILERS BELOW):

Good things:

-The stunning production values. I can't say that all $260 million (according to the Internet Movie Database) is on the screen, but clearly at least $200 million is.

-The visual effects that really show Superman to be faster than a speeding bullet. Superman zips and zooms like he's never done before.

-Brandon Roush's acting was okay, but his voice was very good. I've heard some people complain that he sounded too much like Christopher Reeve, but I found that to be a strengh, because...

Bad things:

-...I hate that costume! The “S” is too small and the bright red on the S and the cape has been exchanged for a dark maroon boarding on brown. When I saw it in the toy stores a month before the film came out, I was flabbergasted! The funny thing is that KB Toys in the same mall as the movie theater has a Superman toy display with Superman Returns toys from the movie AND Superman toys from the Justice League cartoon show. In design and color, the JL Superman toys are far superior.

-The first time we see Lois Lane, she is on a plane with a space shuttle attached to the top. She asks the somewhat snooty public relations person why only one news gathering organization was allowed on board (there are lots of empty seats elsewhere). The P.R. woman replies something to the effect of, "Let's put that question on hold until later," suggesting there's something sinister afoot. But later never comes. Nothing results from this slightly bizarre and unnecessary exchange.

-The kid pushing the piano to save Lois was a surprising display of power (not to mention heredity) but it felt false. I don't understand how a kid could come to the conclusion that the best way to save his mom is to push a massive object that he normally could never move. I COULD believe if he jumped between the thug and Lois, using his body as a shield, or if he tried to drag her away to safety. But the piano coming out of nowhere just didn't work for me.

-When the Lex-made continent is up and Lex has done away with Superman, why does he just sit around? Why are his minions merely playing cards? Why aren’t they celebrating? Why isn’t Lex laughing and drinking and passing out t-shirts that say, “My boss killed Superman and all I got was this stinkin’ shirt”? In "Superman 4", Superman takes away all of the world’s nuclear missiles, then tangles with the Lex-created Solar Man (made with Superman's DNA from a strand of Superman's hair) and gets sick. In a deleted scene, Lex, knowing Superman is out for the count, is working several phones selling nuclear missiles back to the U.S. and Russia, resupplying the arms race. In this movie, I kept expecting Lex to get on the phone and call up governments and threaten to create new continents on their shores, or at the very least call up contractors so that his utopia can start being built. BUT LEX JUST SITS AROUND!

-What is the deal with those Kryptonian crystals? I understand that they make structures grow, but what happened with Parker Posey's character dropped them out of the helicopter? Did they make even more stuff grow? There didn't seem to be any obvious consequence of her dumping the crystals.

BUT THE VERY WORST THING ABOUT THE FILM:

-The foundation for the entire film is horribly flawed. I CANNOT buy the premise that Superman would abandon Earth and not tell anybody. That just doesn't sound like Superman. It's a very irresponsible act to disappear on others, and Superman is all about responsibility. He would have told Lois, been honest with her (heck, they WERE sleeping together), and hoped that she could understand how important going to the remnants of Krypton is to him. One of my caucasian coworkers came up with an excellent analogy, "That's like if you and I decided to go to Europe to find our ancestry but never told our wives. "

AND EVEN IF he didn't tell Lois, we're told that Superman left "after astronomers discovered the remains of Krypton." If Superman disappeared without telling anyone anything (as both Ma Kent and Lois testify in the course of the movie), I would think that Lois, being the great reporter that she is, would doggedly try to find out what happened to the man she loves. Eventually she would find those astronomers and figure out where Superman went to. She might hate him for going, but she wouldn't be in the dark and take up with Perry White's nephew (no matter how great a guy Cyclops, I mean Richard White, is).

A STRANGE "SUPERMAN RETURNS" BUSINESS MATTER

Apparently I got one thing wrong in the paragraph above. A coworker/Superman fanatic pointed out that Ma Kent did know about Clark leaving, and covered for him by, over the years, mailing postcards that he sped wrote before leaving. One or more of the postcards can be seen on Lois's desk in the film. How did he know this? By reading the four prequel comic books that DC put out in June. Now I love comic books, but I never heard about these until several weeks after the movie had been released.

I also came up with this criticism of the film:

-At the beginning of the film, a Kryptonian spaceship crashes in the Kent field and Clark emerges. Where did it come from? How come there is no explanation as to its origin? If Superman didn't have a Kryptonian spaceship to get to whatever remained of Krypton in the first place, why did he need one to get back? And if Superman was able to build a Kryptonian space ship with whatever was left over on the planet fragment, why didn't any other Kryptonians build such a ship to escape the initial destruction in the first place?

It turns out that these questions are also answered in the comic book, "Superman Returns: Krypton to Earth". Duh!

But are comic books the best way of informing a mass audience in the 21st century? According to the comic book sales list for June, "S.R.-Krypton to Earth" sold 32,936 copies, "S.R.-Lex Luthor" sold 30,908 copies, "S.R.-Ma Kent" sold 30,074 copies, and "S.R.-Lois Lane" sold 26,493 copies. The comics were 40 pages each and cost $4.00.

Web comic creator T. Campbell wrote in the lastest issue of Write Now, "...people cried hallelujah when All-Star Batman and Robin #1 sold 261,000 direct market copies, but Sluggy Freelance, not even the most popular webcomic, gets 300,000 readers every month."

Perhaps putting the "Superman Returns" prequel comic books on the web might have helped the film. It certainly couldn't have hurt. I would have read them. I would have paid to read them. I wouldn't have paid $4 to read each of them, but I might have been persuaded to go as high as $2.

But now, having seen the film and being for the most part disappointed, I have no interest in the prequel comic books.

But I would read them on my computer screen if they show up on the DVD.


Comments:
Again, I really wanted to like this movie more. They did a lot of things right, but they dropped the ball on some big things, the biggest being Supe's relationship with Lois. If she moved on and found suburban happiness with someone more predicatable, well then, that puts a dreary cap on decades of wonderful romantic tension.

As for comic book sales, how the mighty have fallen: at its height in the 80s, X-MEN was selling a million copies every month. Now sales that are a quarter of that are considered a triumph. Clearly, the days of four-color fantasies printed on cheap paper are numbered.
 
I must disagree with that last sentence, "Clearly, the days of four-color fantasies printed on cheap paper are numbered." Strangely, I don't believe this to be the case. I truly believe that comics will continue for a least another 50 years in their current form, even if they go up to $10 a copy (God help us) for three reasons: 1) They're portable. No need to turn on a computer and log on to a web site, which requires a computer and internet access. 2) They show commitment to the format. Publishing a tangible comic book, no matter how crappy the artwork or story may be, shows that a person or group is willing to do the hard work of taking their creation and making it three-dimensional. 3) It's more easily transferable. Sending someone influential a comic book makes more of an impression than sending them a CD of comic book pages to be read on a computer. There are no formatting issues.

Finally, there still exists a large enough audience that prefers paper to web, and will shell out the (currently ridiculous) amount required for purchase. As long as a comic can have a print run as low as a 1,000 copies (whether or not the creators will receive any profit), they will continue to be made because of love of the format. But this means that comics will eventually become like LP records or Commodore computers (if they haven't already), an archaic format attracting a small, hardcore following with enough cash to keep the monitor beeping, even if the pulse is extremely weak.
 
ben--you wrote "A coworker/Superman fanatic pointed out that Ma Kent did know about Clark leaving, and covered for him by, over the years, mailing postcards that he sped wrote before leaving."

what i'd like to know is this: was it a CAUCASION coworker/Superman fanatic who pointed this out??

nice to see that you're finally posting--& a lot too
 
Actually, the coworker/Superman fanatic that alerted me to the SR prequel comic books is African American. For him, he'd have to got to Africa to investigate his ancestory without telling his wife in order to emulate that irresponsible schmuck, Clark Kent.
 
It looks to me like a "small, hardcore following" are indeed the only ones buying comics, and I'll bet that following gets a lot smaller. Kids who are ten today won't be interested in comics in fifteen or twenty years.

And please, don't talk to Caucasions (i. e. people from the planet Caucason, one moon over from Krypton). Those people are filthy degenerates, and it's bad enough that they're trying to get into my country club.
 
I swore off this blogging business, but just when I thought I was out...

Comics are way too expensive, but if you find inexpensive ways to package them, they'll sell well. I point to the Marvel Essentials line as an example. I can't quote figures, but they keep making them, so somebody must be buying them.

My old boss proved that comics could be produced without spending a mint. Sometimes the product would be good, sometimes not. As with anything.

One possible scenario is when someone with a good product starts underselling the competition. I don't want fancy paper. I'm even happy with black-and-white. Comics, at their best, should be so cheap they're hard to turn down. Make them that cheap again, widen the market, make up for your losses in quantity.
 
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