Starring:
Henry Cavill, Amy Adams, Laurence Fishburne, Russell Crowe, Michael Shannon,
Diane Lane, Kevin Costner, Antje Traue
Directed
by: Zak Snyder
Written
by: David S. Goyer
Produced
by: Christopher Nolan, David S. Goyer
So where do we stand on Superman?
He’s a polarising superhero, it has to be said. Pick a
random stranger on the street, and there’s a decent chance they’ll dismiss him
as the big blue boy scout (not to be confused with the other big blue boy scout, Captain America). Too powerful to be
interesting, too nice to be entertaining. Outdated, cheesy. Personally, I fall
on the side that says he’s a great character, but difficult to write well. He’s
more purely heroic than certainly any other of the most popular comic book
characters, and in the wrong hands that can certainly come off as dull. Get him
write though, and he becomes someone truly admirable.
Whatever else they think of him, the Nolan/Goyer team, so
successful with their recent trilogy of Batman films, clearly subscribe to the
opinion that Supes is, if not necessarily outdated, then certainly in need of a
bit of a spring clean. It worked with Batman, for the most part, but Superman
is a slightly different beast. Making him more realistic in the same vein they
did Batman just wasn’t going to work. Thankfully, Man of Steel sticks fairly close to established mythology in all
but a few key areas, which are changed to mixed effect.
The film kicks off with a bang, which is no surprise. Snyder
has a variable reputation as a director, but one quality which has never been
in doubt is his ability to craft a stonking action scene. What is a surprise is
how long the films spends on Krypton, establishing the backstory. It’s probably
a good half hour at least before we even get to Earth, never mind getting
Cavill on screen. It’s an early indication that MoS suffers from what we might call Hobbit Syndrome. While it would
be unfair to say that the intro is bad – quite the opposite in fact – it is
without question bloated, particularly because there’s a scene later in the
film that recaps all the pertinent knowledge in an artistically interesting
fashion, so aside from kicking off with an action scene, and giving Russell
Crowe something to do to earn his paycheque, it’s hard to justify it. Yes, it shows
an interesting interpretation of Krypton, taking inspiration from Avatar, Ancient Rome and the Halo games, but it could have been at
least twenty minutes shorter. Hell, the starting point for any Superman story
is a planet blowing up, so any action scene is going to be rendered a little
redundant.
You can’t even make the argument that it’s a long wait for
the next set-piece. Early trailers had suggested a more philosophical approach
to the story, long on grey backgrounds, deep moral musing/whining, and short on
Superman punching through buildings. There was much talk of Clark Kent
wandering around trying to ‘find himself’. Well, once Cavill arrives on screen,
it’s maybe five minutes before he’s leaping into action, albeit sporting a
beard rather than a cape, and showing off his terrifyingly chiselled chest
rather than the famous S symbol. It’s an impressive introduction to the
character.
The following section is probably, all in all, the best
section of the film. Cavill isn’t just a pretty face, bringing charm and depth
to both Clark and Superman, and his journey from good-hearted drifter to
god-like hero is genuinely engaging. He is matched by Amy Adams as long
standing love interest Lois Lane, who is handled rather well, certainly better
than female leads traditionally fare in super-hero movies. True, she’s a
somewhat two dimensional character at best, but given that those two dimensions
consist of her actually living up to her reputation as a crack reporter and
kicking ass, it seems churlish to criticise. Adams and Cavill spark off each
other nicely, too, although romance is more or less left for the inevitable
sequel.
It is in this section that the more realistic tone of the
film, and the more obvious changes to previous mythology are introduced. Some
are smart, logical revisions; for instance, the military are far from keen on
the idea that there’s an alien with super-strength and laser eyes living in
America. It isn’t a totally original idea, but it’s new to the films, and it’s
a nice example of the realistic vision serving the film well. Arguably less
successful are the flashbacks to Clark’s childhood. In and of themselves, they
aren’t bad, but Kevin Costner’s Jonathan Kent is badly fumbled, turning him
from a moral compass to a scared, almost paranoid figure who, in one disastrous
writing choice, seems to argue the merits of letting a bus full of kids die
rather than Clark using his abilities. It’s even more infuriating because just
one change in dialogue – the existing ‘Maybe’ to an ‘I don’t know’ – would still
have conveyed the doubt and fear that makes the scene interesting without
making Jonathan come across as the coward the scene paints him as. Clark’s
backstory is the main area that would have benefited from a briefer visit to
Krypton; strip out ten minutes of Russell Crowe on a dragon, and stick in
another scene of Clark and Jonathan, or even a scene of Clark interacting with
people his own age who aren’t treating him like dirt, and a multitude of sins
would have been forgiven.
But then you get to the last hour of the film, and you’ll
probably forget most if not all of the issues you might have had, because God
damn this is a film that knows how to showcase superhero violence. Remember New
York getting trashed in Avengers Assemble?
Blown out of the water. When Superman and Zod clash, it’s like watching two
different disaster movies hit the same location. The action in Man of Steel is just staggering, and it’s
a good thing because most of that last hour is almost entirely people punching
each other, or people shrugging off the massed might of the US military like
the soldiers are armed with pea-shooters.
If you aren’t interested in such pyrotechnics, then Man of Steel probably isn’t for you.
This isn’t to say there isn’t a lot else to like. Quite apart from Cavill and
Adams, there are a whole host of good performances; Shannon adds subtle depth
to Zod beyond rampaging psychopath, while Crowe is a Jor-El you can both
respect and picture yourself having a beer with. Most memorable though is Antje
Traue, as Zod’s second-in-command Faora; defiantly one-note, but brutal,
terrifying, and not so much scene stealing as smashing everyone else off the
screen. A lot of the direction and filming is beautiful, with a shot of Clark
drifting in the sea surrounded by whales a haunting, wonderful image that is
all the more memorable for being almost utterly irrelevant to the film as a
whole. It’s simply there for the art of it. Somewhat shockingly, there’s even a
lightness of touch that might just have you laughing at points throughout the
film. Most importantly, the Nolan/Goyer/Snyder team have succeeded in their aim
– a respectful, faithful, but modernised and suitably realistic depiction of
Superman. He’s not the infallible god most see him as, but you can see the
seeds of that future, which is all you can reasonably require of an origin
story.
However, for all of that, of the two hour plus running time,
roughly half of it is action of one sort or another. Action fatigue can and
will set in, and it will be then that you start to think about the negatives
outlined above. If you’re comfortable watching super-powered aliens beating
seven kinds of hell out of each other, then you’re going to love it. If not…maybe
give it a miss.
Oh, and if you’re more than passingly knowledgeable about
religion, brace yourself for the least subtle Messianic imagery since…well,
probably since the New Testament.
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