Man of Steel is one of those movies that are best described as “polarising”. The source of this, for a large part of it, appears to be conflicting expectations in imagery - or perhaps a conflict between what imagery will be accepted by different people - akin to what Batman faced in 1980. By the decade preceding Tim Burton’s first live action outing with the Dark Knight, Batman’s comic books had already returned him to the film noir, morally ambiguous roots of the character’s 1940s beginnings. A move which worked to completely divorce the title from Adam West, giggling goons, bright 1960s colours and Riddler riddles whose solutions honestly defied all logic; sensical and nonsensical alike.
As hilariously enjoyable as Cesar Romero was on TV and as much fun as people might have had reading 1960s comic books about a hero solving crime with the help of oversized novelty items and the taste of delicious sponsor-provided fruit pies, this depiction didn’t sum up the be-all and end-all of the character. More than that had always been possible and more than that was being explored again. When Tim Burton’s first Batman movie was released in 1980, quite a lot of people were bitter about the shadowy streets, emotional baggage and homicidal villains.
This brings us back to Man of Steel. I’m not for one second trying to dismissively argue that anyone who doesn’t like this movie is stuck in an old fashioned era that doesn’t have a place anymore. 2012s superhero team epic, The Avengers, tossed every spangly-coloured, comedic one-liner spewing, comic-book-science talking, American idealist cliché at the audience that it could lay its hands on.
And it was brilliant.
I’m also not arguing that people who dislike this movie must be people who react negatively in general to movies termed “dark”. However, one reason commonly given by people for why they didn’t like Man of Steel is that “it’s not Superman”. In one respect, I agree with this. But, by using it as a reason for dislike, I think they’re missing the point, for a number of reasons.
Firstly, it may be important to mention that the atmosphere of Richard Donner’s 1978 Superman movie is sourced from a different comic book “age” than Man of Steel is. Donner’s Superman draws from the Silver Age of comic books (usually considered to have lasted from 1956 to around 1970), which is largely famous for its new-powers-as-the-plot-demands approach. Superman flying around the Earth so quickly that its rotation reverses, causing time itself to also reverse, is a good example of this. As is his ability to grab at his chest ‘S’ shield, inexplicably peel off a plastic duplicate of it and throw it at an enemy to trap them inside it for a few moments, shown in that movie’s sequel.
Now, I’m a big fan of Donner’s Superman but if I were to come up with a list of reasons why I enjoy watching it, the list would be two items long: Christopher Reeve and Margot Kidder. It probably should count as three, since, with his performances as both Clark Kent and Superman, Reeve is really acting twice and both acts are sublime.
It’s just the rest of it that I end up, for the most part, simply tolerating rather than liking. Lex Luthor pulling accurate information about kryptonite, out of nowhere, from an old book he has sitting on his shelf and surmising (with equal accuracy) that the substance will be lethal to Superman? The round, bumbling, useless henchman whose sole purpose within the movie, his role as comic relief, can only be accepted if we broaden the definition of the word comedy to mean “anything that happens on-screen”? It’s enough to make me want to yell at the TV to tell it to stop being so stupid.
That, however, is just my opinion about elements of the movie. Completely subjective. I’m not about to argue that it’s, in any way, not a true depiction of a Superman movie. Like Batman, Superman isn’t any singular portrayal. Having existed in publication for over 70 years, many different character elements and/or storytelling tones have been explored in his comic books across decades. A reader of this may say, “I don’t read comic books” and that’s perfectly fine. Millions of people don’t. But, then, by what basis can one judge a single depiction as not the “true” one, against all of that history?
Adam West in tights may not be to everybody’s liking but he’s still Batman, equally as much as Michael Keaton or Christian Bale are.
Secondly, I mentioned that I agreed with the “it’s not Superman” claim in one respect. I don’t agree with the argument that it can’t truly be Superman because of blue filter added to the photography or because he’s not wearing his little red undies or because a city faces trillions of dollars worth in collateral damage from super-powered face punching, or for any other consequences of physical confrontations. Many of these details have to do with the fact that Man of Steel sources its tone from the Modern Age of comic books. I’m arguing that the character isn’t quite Superman because that’s intentional on the part of the director.
I know a lot of us frequently moan, “not another origin story!” but we, honestly, really need them. Apart from the fact that any filmmaker, on some level, has to lay down groundwork for how their particular film’s universe works (in relevant rules, history and continuity), there’s also the fact that it’s ultimately unsatisfying to walk in on an already matured and morally cemented character. Additionally, Superman is a character who, among the mainstream, has long been plagued by the belief that he’s too physically capable and personally perfect to be interesting. Man of Steel had to tackle that belief head on.
A man who becomes a paragon of virtue and optimism, despite fighting against atrocities, super-villainy and the isolation that comes with being the only one like himself on the planet, over years, is a compelling story. A man who simply is such a paragon is much less compelling.
Anyone who dislikes this movie is free to dislike it, if that’s their taste. I’ll readily admit that I think it has weaknesses, both technical and storytelling in nature. People can also feel that it’s not their favourite depiction of Superman so far. But if we’re going to judge this version’s characterisation fully, we should arguably wait until more of the life story is fleshed out, rather than judging it solely on, what is clearly, only chapter one.
I do still miss those little red undies though.