The planet Krypton is doomed. Only one man, Jor-El, knows it, and rockets his infant son to refuge on a distant world called Earth. As Jor-El's son grows to manhood, he learns he possesses super-powers he must hide from the ordinary mortals around him. And so, he disguishes himself as Clark Kent, mild-mannered reporter.
Just before the destruction of the planet Krypton, scientist Jor-El sends his infant son Kal-El on a spaceship to Earth. Raised by kindly farmers Jonathan and Martha Kent, young Clark discovers the source of his superhuman powers and moves to Metropolis to fight evil. As Superman, he battles the villainous Lex Luthor, while, as novice reporter Clark Kent, he attempts to woo co-worker Lois Lane
26 years on and the first Superman movie has had a spawn of sequels, a host of mixed reviews, a special edition DVD and a sh*t load of rip-offs of the same genre. But nothing, and I say this with pride, can ever beat this superhero masterpiece. In my opinion it's one of the greatest (if not the greatest) superhero film ever made. OK, so it's once fantastic, out-of-this-world special effects are a little dated now, but seriously it's a great film. Gene Hackman is deliciously bad as Lex Luthor, Christopher Reeve is the man of steel himself and the Godfather of them (lol), Marlon Brando (R.I.P.) stars as Superman's father Jor-El. The film is fast, funny, exciting, fresh and just plain brilliant from the explosion of Planet Krypton to the tense finale there is no stopping the thrills. Now come on everybody…HOORAY FOR RICHARD DONNER!!! *****/*****.
Richard Donner&#39;s 1978 film SUPERMAN has to be one of the most misunderstood films of all time. In an age where it&#39;s &quot;hip&quot; to deconstruct superhero characters and make them grim-n-gritty and/or vapid teen idols, the movie can&#39;t help but come off as a valentine to a bygone era. And with the advent of SMALLVILLE and a proposed new Superman movie (in which producer Jon Peters and his crew have been trying for the past 10 years to radically alter everything about the character except the name), even Superman fans have taken to bashing Donner&#39;s film, sneering at it as being &quot;campy,&quot; too reverential of the source material, and too &quot;dated.&quot;<br/><br/>And yet…nothing could be further from the truth. Far from being &quot;dated,&quot; SUPERMAN is just as fresh and timely today as it was 24 years ago, and the spectacular digital restoration (including a new sound FX track-the original had deteriorated) makes the movie look just as fresh and new as the latest box-office hits. Even more impressive is how the special effects have held up; except for three brief front-projection shots, you can still believe a man can fly. I can only imagine that the &quot;dated&quot; claims have to do with the film being 24 years old and having been made before CGI and choppy MTV-style editing came into use, because there&#39;s nothing else about the film that dates it to the 1970s. (Do yourselves a favor and watch the 3 documentaries on the DVD. They give incredible insight into how much work was put into the film.)<br/><br/>And then there&#39;s the script, by Tom Mankiewicz (credited to Mario Puzo, David and Leslie Newman, and Robert Benton). When producers Alexander and Ilya Salkind first developed the project, they intended it to be a camp comedy. When Donner and Mankiewicz came aboard, the film was altered into a serious piece, and the end result is magical. We&#39;re given an epic depiction of the origin of Superman, beginning with the Krypton holocaust, going thru his childhood in Smallville, and finally ending up in Metropolis where the adult Superman faces his first trial-by-fire in his encounter with Lex Luthor. The story has plenty of humor in it, but it&#39;s still played straight, and runs the entire gamut of emotions. The oft-criticized ending, in which Lois dies in an earthquake and a grieving Superman defies his oath to not interfere with human history by flying back in time to save her, is the defining character moment for Superman. In defying the orders of his father and following his heart, Superman rejects his alien heritage and embraces his humanity. It&#39;s a great moment, but yet it&#39;s one that too many people are quick to bash because &quot;he can save anybody that way.&quot; They don&#39;t see what it really means as a character bit. Making the story even stronger is Donner&#39;s taut, reverent direction, as well as some truly great acting. Christopher Reeve IS Clark Kent/Superman, body and soul (his own size mirrors the physical stats of the comic book character). Playing the role with heart and conviction, Reeve literally becomes the character made flesh. Marlon Brando, in his small role as Jor-El, is also excellent, bringing a commanding dignity to film. Gene Hackman&#39;s sociopathic Luthor, a guy who merrily jokes and brags about himself while planning an act of genocide simply to make big real estate money, is both funny and chilling. Add to this knockout trio fine performances by an international cast of superstars, and the film comes alive. Also of note is the powerful score by John Williams. Those condemn this score as being &quot;too heroic&quot; need to have their hearing checked. Williams delivers more than just heroism; he captures the eerie ambiance of Krypton, the rural warmth of Smallville, and the romanticism and tragedy of Superman and Lois&#39; relationship beautifully. And to cap it all off, he gives Superman one of the most unforgettable fanfares in film history. Further strengthening the film is Stuart Baird&#39;s brisk, punchy editing; John Barry&#39;s lavish production designs (including the memorable crystalline Krypton); Yvonne Blake&#39;s clever costuming (the glowing Krypton costumes, and a flawless rendering of Superman&#39;s classic suit); and Geoffrey Unsworth&#39;s misty, ethereal cinematography, which enhances the fairy tale aspects of the character. Every step of the way, the film successfully brings Superman and his world to life.<br/><br/>That said, SUPERMAN has its flaws. Ned Beatty&#39;s Otis character is mostly a non-entity; he doesn&#39;t really add anything to the proceedings. And Margot Kidder is badly miscast as Lois; not only is she far too tomboyish to play what in the comics is a glamorous character, but she comes off more like Reeve&#39;s vapid sister than she does a feisty love interest. Their scenes only work because Reeve makes us buy into the movie. Watching the screen test for Anne Archer-a much better and much better-looking actress, I can&#39;t help wondering why she wasn&#39;t cast as Lois instead. She would have been perfect opposite Reeve. (But to be fair to Kidder, she was way better than most of the other actresses tested-Stockard Channing in particular was awful.) And there&#39;s a really careless glitch when Superman saves Air Force One; the film is reversed when he grabs the plane, so his emblem and spit-curl are both backwards. But in the end, those flaws aren&#39;t enough to weaken SUPERMAN&#39;s impact. It was and still is not only the best comic book movie ever, but it&#39;s also one of the finest films ever made, period. Those who bash the classic version of Superman and this film while supporting the planned Jon Peters version should definitely reconsider their stance. This is not an inept drek-fest like BATTLEFIELD EARTH, nor is it a heartless, soulless mess like the Peters film promises to be. This is a beautiful, heartfelt piece of Americana, crafted with love and respect. SUPERMAN deserves to be seen as the classic it is, not to be disrespected and forgotten.
it's the simple, earth-bound quality of the film that makes this comic-book fantasy soar.
The movie Superman (1978) located the fictional U.S. town where the baby Kal-El was found and raised by Jonathan and Martha Kent in the state of Kansas. This tradition has carried through into subsequent Superman comic-book stories, animation, and television series. Earlier comics however placed Smallville in the north-eastern United States, somewhere near the eastern seaboard. Also, some comics-related sources in the 1970s and &#39;80s placed Smallville in the state of Maryland. In the TV series Smallville, Smallville has been established as being located in the state of Kansas and also close enough to Metropolis that on clear days, one can view it in the distance. Metropolis is a fictional port city located somewhere on the eastern seaboard of the U.S. Where exactly varies depending on the source. The four superman movies made in 1978, 1980, 1983, and 1987 staring Christopher Reeve, do not specify its location, but based on the existence of various real-life landmarks such as the Statue of Liberty, it must be a stand-in for New York City. In the DC Universe, it is considered to be in New York State (which also is said to be geographically larger than its real-life counterpart). Some sources had previously placed Metropolis on the shore of Delaware Bay in the state of Delaware, across from Gotham City (from the Batman universe). However, this has been superseded by more recent continuity. In the latest Superman movie, Superman Returns, when Lex Luthor unveils his plan on a series of maps, Metropolis can be seen located on a Northeastern U.S. map exactly where New York City would be. (Also, on a side note, Long Island is not present at all.) In the TV series Smallville, Metropolis must be located either in Kansas, or close by in a neighboring state, as the show has established that (1) Smallville is in Kansas and that (2) Metropolis can be seen from town on clear days in the distance. At this point in Clark Kent&#39;s life, he has not yet fully developed, super-power wise. He has varying degrees of some of his powers, while others not at all, including the ability to fly. That is why he runs super fast home, instead of simply flying. The effect was achieved by dangling the actor just above the ground with wires, and having a fast moving rig pull him across the intended path. In some shots, it was clearly blue-screened though. Once he turned back time, he then had the time to stop Lex Luthor&#39;s guided missles, and in effect, prevented the earthquakes, etc. The controversy surrounding the time-reversal theme of the movie has been a discussion point since the film came out. Most viewers see it as a cheat, others see it as a ridiculous way for Superman to save Lois. Either way, Richard Donner has commented very little on his choice to include it. We have to assume that, although he turned back time to a point before the dam really breaking through (as is clearly seen being reversed), he did not take it back further than that, to before the explosion (crucially, we do not see that being reversed). Presumably, he is only prepared to defy Jor-El&#39;s warnings to a certain extent, otherwise why not reverse the whole thing and save all those killed in the nuclear blast and quake, messing seriously with &quot;Earth history&quot;? So, he simply had a little bit more time, which he used to save Jimmy a bit earlier (it is clear that he still did so and deposited him on the road, because Jimmy says so when he arrives at the car at the end) and also to deal with the damaged dam, perhaps not needing to stop the deluge because this time he has enough time to repair the damage before it bursts completely. He also somehow prevents the crack that reaches Lois&#39; car, though she has still experienced the quake/aftershocks and the exploding gas station (she says as much). And of course, Luthor&#39;s huge crime has still taken place and so he must go to jail and for trial. She asks him about this during their interview: &quot;Is it true that you can see through anything?&quot; He then states specifically that he can see through anything but lead (when she steps out from behind the lead plant box she has on her terrace, he says &quot;pink&quot;, giving an answer to her question about what color underwear she&#39;d had on). Lois is primed with a lot of questions, though we are not privy as to how she knows to ask this one. Also, the printed article Lex Luthor et al. read the next day, &quot;I spent the night with Superman&quot;, contains details about him that we do not see Lois and Superman discussing. So, we must simply assume that various rumors and facts had leaked out prior to the interview, during Superman&#39;s first few appearances, somehow (we do see him talking to Jor-El about his having been &quot;showing off&quot; and now being &quot;revealed to the world&quot;) and a lot more putting the record straight must have taken place off-camera, while Lois is interviewing (flying with) Superman. In the original Superman comic book universe, it is safe to assume some, if not all, characters have trouble coming to this conclusion. In real life, although it is possible for a person to recognize Clark Kent, or Superman vice versa, there are numerous people who found they could conceal their identity from at least strangers with a single facial detail like Harold Lloyd (who was an inspiration for Clark Kent) with his glasses or Charlie Chaplin and Groucho Marx with their artificial mustaches. This was probably left out for plot reasons, and to allow a longer running series.<br/><br/>If the comic book series bordered too close to real life, with rational and smart characters, Superman would never have survived this long. His identity would have been deduced very early, and his closest friends and relatives would have been systematically killed. In the modern comics, the disguise has been supported by the fact that the public does not know that Superman have a secret identity since he does not wear a mask, suggesting he has nothing to hide. Furthermore, he has had the help of shapeshifters like the Martian Manhunter who have posed as Clark Kent with Superman in public appearances to make it seem obvious they are two separate people.<br/><br/>More than the glasses, the Clark Kent disguise consists of a completely different personality. Christopher Reeve was chosen, in part, because of his ability to play two completely different characters. Kal-el takes Jor-el&#39;s advice that his secret identity is absolutely necessary to heart and develops the Clark Kent persona in order to keep humans from over-relying on Superman and to protect those he loves. Clark Kent is a bumbling, &quot;mild-mannered reporter&quot;, easily dismissed by Lois and everyone else; Superman is confident and charismatic with a witty sense of humor. Lois even considers the possibility that they are one and the same and then, considering Clark&#39;s personality, dismisses the notion as ridiculous. The skill of Reeve in portraying the identities is demonstrated in this film when Clark is tempted to confess in Lois&#39; apartment; the sight of him simply taking off his glasses, straightening his back and speaking with unexpected timbre has a convincing effect of suggesting another person. In the year 2000, the Director&#39;s Cut of Superman was released. Most of the new material are smaller sequences with plot extensions, but there are two bigger sequences added as well. The first one shows Superman in the Fortress of Solitude, talking to his father Jor-El about the advantage of his supernatural powers. The second one shows Luthor trying to stop Superman by the use of heavy arms, fire and ice. The 4-Disc Special Edition is a Must Have for each fan of this film because it&#39;s the only DVD release including the Director&#39;s Cut and the theatrical cut as well.
a5c7b9f00b
tamil movie No Name free downloaddownload Niagara's FuryThe Wheelmandownload full movie The Seven Deadly Sins in hindimalayalam movie download Busy DayYou Are Here full movie in hindi free download mp4download Bleeding SteelDias de Trov o movie download in hdthe Black Dynamite downloadThe Avengers movie free download in hindi