Although Superman: The Movie includes elements of science fiction and mythic space opera, the main narrative drive is that of a man coming to terms with, and understanding, his place in the world. Despite Superman’s eventual role being that of a Godlike protector figure, the character still deals with basic human problems like identity and love. Superman: The Movie is a 1978 superhero film, based on the DC Comics character created by Jerry Siegel and Joel Shuster. The film, directed by Richard Donner from a screenplay by Mario Puzo, David Newman, Leslie Newman, Robert Benton and Tom Mankiewicz, charts the life of Superman, beginning with his exodus from the dying planet of Krypton, and concluding with him saving the woman he loves in defiance of his father.
The character of Superman is typically defined as a catalyst hero; he is
good and unchanging. His virtue inspires others to better themselves. In
preparing the character for the screen, a sustained effort was made by the
filmmakers to firmly contextualise the problems and anxieties of this
superbeing through the experience of a normal man. Already all-powerful, the
character’s resolve is instead tested through his relationships with those around
him. The film and character are rarely allowed to stray too far into the realms
of the fantastical, allowing the audience a firm understanding of this
character and the dilemmas he faces. Indeed, it is only when the film attempts
the truly spectacular that the audience feels a sense of disconnection. Superman: The Movie is about
transition, challenges and transformation, and as such easily aligns with The
Hero’s Journey as described by Joseph Campbell in The Hero with a Thousand Faces, and Christopher Vogler in The Writer’s Journey.
Superman: The Movie begins on the
distant planet of Krypton with Superman still an infant, known as Kal-El. We
are introduced to Jor-El, Kal-El’s father, during the trial of three Kryptonian
criminals, for which Jor-El serves as prosecution. As Jor-El will eventually
serve as a mentor for the superhuman aspect of Superman, it is important that
he quickly displays certain heroic qualities of character. This is accomplished
not only through Jor-El’s explicit involvement with law and lawmaking, but also
in his refusal to be swayed by threats. Although the criminal Zod and his
cohorts threaten the lives of Jor-El’s family, he is not cowed, delivering
instead a sentence of exile. Jor-El is established as an incorruptible force for
good; perfect material for a mentor.
‘Mentors represent the Self, the god within us, the
aspect of personality that is connected with all things. This higher Self is
the wiser, nobler, more godlike part of us.’ (Vogler, 1996: p51)
Psychological function established; Jor-El is now used to communicate
the themes and ideas central to the film. The action on Krypton forms a
prologue, providing a context for the events that will follow.
‘A prologue can serve several useful functions. It may give an essential piece of backstory, cue the audience to what kind of movie or story this is going to be, or start the story with a bang and let the audience settle into their seats.’ (Vogler, 1996: p100)
Jor-El’s story explains the rules that will dictate the emotional
journey Superman will go on, as well as arresting audience attention by showing
them the spectacular destruction of an entire civilisation. This sequence also
obeys the similar function of a first act.
‘At the beginning of any narrative you have to establish
the parameters of the narrative in the audience’s mind. This is achieved by
answering a number of simple questions ranging from ‘where are we?’ to ‘what is
this about?’’ (Parker, 2006: p27-28).
In preparing to spirit his son away to Earth and safety, we learn that
the child’s dense molecular structure, native to all Kryptonians, will allow
him superhuman strength on Earth.
Kal-El’s mother Lara also frets that he will be alone, never able to
fully integrate with his adoptive species. This prefigures the mask identities
Superman must take on to shield attention away from his loved ones. It also
plants an obstacle for Superman; can he overcome his inherently alien nature
and find peace amongst a notionally lower form of life? Just as Jor-El outlines
the practical concerns of being alien, Kara, or the female aspect of Superman,
defines the emotional instability of being other. Superman’s trials will be
emotional, as well as physical.
In preparing his son’s escape, Jor-El meets with the Kryptonian council
to discuss the state of the planet. Jor-El pleads that his fellow councilmen
see reason and accept their world is dying. Jor-El is ignored and the planet is
destroyed, but not before Jor-El is able to ensure his son’s safety. This
sequence can be read, like many prologues, as a summation of the path Superman
will eventually take. Jor-El defies authority to ensure the survival of his
young son. We are shown that rules and bureaucracy are meaningless when tested
against basic human instincts such as love.
‘[A]ll fine films… entertain when they give the
audience a fresh model of life empowered with an effective meaning. To retreat
behind the notion that the audience simply wants to dump its troubles at the
door and escape reality is a cowardly abandonment of the artist’s
responsibility.’ (McKee, 1999: p12)
This absurd sequence on an alien world is rendered relatable by
prioritising emotional content over the fantastical.
The next segment of the film takes place in rural Kansas, the most
ordinary of worlds, and details the human upbringing of Superman as Clark Kent.
In contrast to the sharp, icy geography of Krypton, Kansas is depicted as flat,
endless plains of wheat, an environment alien to what we understand as
Superman’s heritage. The farm on which he has been raised is remote and
isolated, allowing the boy to toy with his emerging powers, but not fully take
advantage of them. A short sequence set around a football training session is
used to illustrate the level of self-denial Superman is forced to deal with.
Attracted to sports, but unable to participate, Superman has instead taken the
role of a general dogsbody, saddled with humdrum tasks such as clearing away
equipment. He is taunted by the players, and made to look small in front of
girls. Any attempt made by Superman to equalise the situation is greeted with
scorn and derision. In this community he isn’t allowed to use his powers, or
strive to be treated as special. This is an important stage in developing
Superman as a figure of audience identification. Although a being of supreme
power, Superman has to cope with mundane problems such as bullies, and strive
for a means of valid self-expression.
‘Heroes have qualities that we can all identify with
and recognize in ourselves. They are propelled by universal drives that we can
all understand.’ (Vogler, 1996: p40).
These scenes establish Superman as an almost rootless being, striving to
belong on his own terms. His only real connection with this world is the love
he feels for Martha and Jonathan Kent, his adoptive parents. These characters
function as the emotional mentors for Superman, teaching him humility and
restraint. Whereas on Krypton Superman’s powers were described as tools
necessary for his survival among an alien society, here in Kansas his surrogate
parents have taught him that they could be used to make the world a better
place. Just before he dies, Superman’s human father Jonathan tells his son he
is meant for great things, a role and responsibility beyond Kansas. Jonathan’s
message and subsequent death are the key factors in Superman’s call to
adventure.
‘An uncomfortable
situation builds up until that one last straw sends [the hero] on the
adventure.’ (Vogler, 1996: p118)
The message cements Superman’s desire to discover who he really is,
whereas the death severs one of the character’s more specific ties to the human
world.
Although this sequence of events provides an agreeable transition to the
next stage of Superman’s life, the audience is left feeling that Martha Kent has
been short-changed. An elderly lady, with perhaps not many years left herself;
she loses her husband and her son in a very short space of time. Cursory
references are made to Martha during the rest of the film, most notably when
Superman arranges for half of his Daily Planet salary to be sent to her, but
we are left with the feeling that this poor woman has been abandoned at a very
difficult time in her life. It could also be argued that this situation is
reflective of the plight of being Superman - the hero must always work for the
happiness of the collective, rather than the individual. Hence, the journey
towards becoming a superhero is more important than comforting his bereaved
mother.
Superman journeys north to the Arctic circle. This can be understood as
The Crossing of the First Threshold step on the Hero’s Journey. Superman takes
with him a fragment of the spaceship that brought him to Earth. The audience
may recognises the landscape of the arctic as being a fair domestic
approximation of Krypton, the ship fragment going one further by actually
constructing a crystalline building, architecturally identical to the buildings
we saw in the prologue. It is here that Superman meets with his Kryptonian
father Jor-El. Although dead, Jor-El was able to simulate his personality via
alien technology, ensuring he is able to guide his son from beyond the grave.
‘[H]eroes almost always make contact with some source
of wisdom before committing to the adventure. They may seek out the experience
of those who have gone before, or they may look inside themselves for wisdom
won at great cost in former adventures.’ (Vogler, 1996: p138)
Superman: The Movie presents the
mentor as the prototype version of the hero; this tallies with Vogler’s idea of
the mentor as evolved hero.
‘Mentors can be regarded as heroes who have become
experienced enough to teach others. They have been down the Road of Heroes one
or more times, and they have acquired knowledge and skill which can be passed
on.’ (Vogler, 1996: p143)
Aside from the fact that Jor-El is Superman’s father, the character has
also been tested by the limits of the status quo, forcing him to take matters
into his own hands. This lesson, although not directly told to Superman, is
apparent to the audience, and prefigures the drama of a third act were Superman
must make a choice between what he is told to do, and what he believes is the
right thing to do.
We are told that father and son spend twelve years together, creating
the Superman identity we recognise. Snatches of dialogue are used as bullet
points to communicate these teachings; these include the declaration by Jor-El
that Superman must not interfere with the path of human history. This is
Superman as designed by the Father, an altruistic better for mankind to aspire
to. An interesting result of making Jor-El an all-knowing God the Father figure
is that he also ends up also filling the role of a threshold guardian. By
outlining such specific rules about how Superman is allowed to use his powers
Jor-El creates an emotional obstacle for his son.
‘[O]n a deeper psychological level [threshold
guardians] stand for our internal demons: the neuroses, emotional scars, vices,
dependencies and self-limitations that hold back our growth and progress.’
(Vogler, 1996 P64)
How Superman deals with these rules – ironically by inheriting his
father’s defiant streak – forms the emotional crux of the supreme ordeal, where
Superman uses his impossible physical strength to rescue Lois Lane from a
landslide.
Following his father’s tutelage, Superman journeys to Metropolis, this
world’s New York analogue, and the physical space where the character will
undergo his trials. Superman reassumes his human identity of Clark Kent, using
it as camouflage. This Clark Kent is not the boy we met in Kansas; rather this
Clark is a deliberate attempt to conceal the heroic identity. The Metropolitan
Clark is clumsy and befuddled; he acts in the caricatured shorthand of a
fish-out-of-water. This Clark is passive, allowing the Superman to act as a
ground level observer. It is as Clark that Superman meets Lois Lane, who
variously plays the role of ally, Goddess, Mentor and love interest. Lois
represents an immediate emotional connection between Superman and mankind as a
whole. She also serves the archetypal function of the trickster.
‘[Tricksters] cut big egos down to size, and bring
heroes and audiences down to earth… Above all, they bring about healthy change
and transformation, often by drawing attention to the imbalance or absurdity of
a stagnant psychological situation.’ (Vogler, 1996: p89)
In many ways, Lois is the opposite of Superman. She is fragile, acts in
haste, and is prone to getting herself into dangerous situations. Her impetuous
nature is attractive to Superman, and he falls in love with her. Lois can also
be defined by the herald archetype.
‘Like the heralds of medieval chivalry, Herald
characters issue challenges and announce the coming of significant change.’
(Vogler, 1996: p69)
Lois signals the beginning of a more intimate relationship between
mankind and Superman.
Superman’s powers have isolated him from everyone but those closest to
him. This coupled with the messianic quest outlined by the spectral
manifestation of his father risks making the character an unfathomable alien.
The inclusion of Lois at this point reintroduces a relatable aspect to
Superman, as well as reasserting the lessons of his loving human parents. In
being raised as a human, this Kryptonian has been made human.
The second important character we meet in Metropolis is Lex Luthor, the
villain, and shadow of Superman: The
Movie. Lex is an evil genius, always scheming to improve his financial
lot. He thinks of himself as the ‘greatest criminal mind of the twentieth
century’, and conforms to Vogler’s idea of the delusional aspect of villainy.
‘[M]ost Shadow figures do not think of themselves as
villains or enemies. From his point of view, a villain is the hero of his own
myth, and the audience’s hero is his villain. A dangerous type of villain is
“the right man”, the person so convinced his cause is just that he will stop at
nothing to achieve it. Beware the man who believes the end justifies the
means.’ (Vogler, 1996: p86)
Although Lex knows he is doing evil by plotting to destroy California,
it is of supreme irrelevance to him. In this instance, by playing recklessly
with the laws of nature, Lex situates himself as a God figure. This marks a
particular departure point with ethics and morality of Superman, Superman can
act like a God, yet chooses not to, instead he uses his powers to bring boons
to the people of Earth. He views them all as being of equal importance, and is
unwilling to allow any of them to come to harm. Lex, lacking the power of God,
but wishing for it, is instead willing to grind them all up to line his pockets.
Lex is a negative reflection of Superman. If Lex possessed the power of
Superman, he would bend the world and its populace to his whim. That Superman
does not is a strong and vivid indication of his heroism. Superman could rule,
but he chooses not to.
‘The Shadow may also be
unexplored potential… that goes unexpressed. “the road not taken”, the
possibilities of life that we eliminate by making choices at various stages,
may collect in the Shadow, biding their time until brought into the light of
consciousness.’ (Vogler, 1996: p87)
Lex is also the catalyst for the film’s Supreme Ordeal. Luring Superman
to his lair, Lex reveals his plan to launch two nuclear missiles at opposite
sides of the country. He also tricks Superman into exposing himself to
Kryptonite; a radioactive fragment of Krypton that Lex has predicted will sap
Superman’s life force. The usually invincible hero is rendered weak and docile
when exposed to the meteorite splinter, he appears to die.
‘[Audiences] love to see heroes cheat death. In fact
they love to cheat death themselves. Identifying with a hero who bounces back
from death is bungee-jumping in dramatic form.’ (Vogler, 1996: p189)
Superman is only saved when Lex’s subordinate, Miss Teschmacher, briefly
switches allegiances and removes the Kryptonite from Superman’s person.
Teschmacher is inspired by Superman to do good, but there is also a selfish
reason for her shape-shifting – her mother lives near one of the areas doomed to
be destroyed by Lex’s missiles. In order for Superman to be rescued he must
agree to divert that rocket first and foremost. Superman agrees to this
bargain, and inadvertently dooms Lois.
When Lois is killed by the earthquakes that follow the detonation of the
California bound rocket, Superman is heartbroken. The physical and emotional
representation of his relationship with mankind is gone, and, more alarmingly,
perhaps any real chance for Superman to be healthily assimilated into human
culture. Superman flies into the heavens where he remembers the teachings of
his two fathers. Jor-El taught Superman to be a paradigm, a separate unyielding
example. Interfering is forbidden.
‘Of the many fears faced by heroes, the greatest
dramatic power seems to come from the fear of standing up to a parent or
authority figure. The family scene is the core of most serious drama, and a
confrontation with a parent figure can provide a strong Supreme Ordeal.’
(Vogler, 1996: p197)
Jonathan Kent echoes these thoughts, but presents them in a more intimate,
humanistic fashion. Jonathan simply believed Superman was sent here, to Earth,
for a reason. Superman recalls the death of Jonathan, and how despite his
powers he was unable to prevent it. Superman flies into space and begins
speeding against the rotation of the Earth, turning it, and thus the course of
time, backwards. Although emotionally satisfying in that Superman has defied
his isolationist-minded biological father and saved his great love Lois, the
ability to rewind time creates a profound illogic in Superman as a narrative
entity.
‘[The hero] now finds himself at the end of the line.
His next action is his last. No tomorrow. No second chance. This moment of
dangerous opportunity is the point of greatest tension in the story as both
protagonist and audience sense that the question “How will this turn out?”
will be answered out of the next action.’ (McKee, 1999: p303)
Drama is created by decision. If Superman is able to repeal his
decisions, he is no longer dramatic. There is the feeling that if Superman can
do this at whim, then no threat can ever trouble him, any inconvenience can be
negated by a trip to space. The thematic means by which this is accomplished do
satisfy however. The decision to alter the course of time is a complete
synthesis of Superman the God, and Superman the man.
Superman: The Movie can be read
as a film about a lonely soul striving to find where he fits into the wider
world. He finds stability and love through his relationship with Lois, and will
stop at nothing to maintain that position. Having lost the person he holds
dearest he is only able to rescue her by utilising his enormous strength.
Rather than act as the separate, higher being dictated by Jor-El, Superman
engages with his human emotions whilst testing his God abilities to the limit.
‘For the son who has grown really to know the father,
the agonies of the ordeal are readily borne; the world is no longer a vale of
tears but a bliss-yielding, perpetual manifestation of the Presence.’
(Campbell, 1993: p148)
In a film with a hero that uses multiple mask identities to conceal his
true nature, there is the feeling that this act represents the truest action of
character. Superman is acting in his interests alone, and the result is
emotionally satisfying: he has become a complete being. This is not a film
about a being of conceptual goodness; this is an adventure that deals with
human themes and emotions on a grand and expansive canvas, with a central hero
that is tested, changes, and prevails.
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