“O superman. O judge. O mom and dad”

The coast of the little brave boy: "Superman Returns"

With "Superman Returns" is X-Men-Kult director Bryan Singer a almost perfect digital remake succeeded. It’s going to be ahead of the first (the four) Supermann movie "Superman. The Movie" under the direction of Richard Donner (1978). The National Religious Children and Youth Mythos among the comic figures was finely clean in memory of the 194 days of Christopher Reeve, who deceased in 2004 "cut out" and lovingly restored. The actors are replaced, the characters around five years, so only slightly aged, the old adventures and struggle takes place on a completely new trick-technical level, which makes the movie to an electronic half Wagner opera (film length around 154 minutes) with some long power. But as current is the hardly changed history of the earthly pattern chamber and heavenly scouts from the 1930s after getting started in the 21. century?

"Superman Returns" is a consistently entertaining new edition of the comic figure brought in the spades of seventies on the cinema wall. 260 million. Dollar has devoured the new movie, already the most expensive, but probably not most successful stripes of all time. Already for the first two moving movements, a high effort was operated, often without corresponding output.

The old movies between luxury and trash

Ideas came and were rejected again, luxury and trash were close to each other, which led to the complete decline of films III and IV. A comic and serial hero like Superman is only a homogeneous character in the two-dimensional paper, in the cinematic "Reality" too quickly a supervised, collapsed beings, in which the invisible thread of an ever-explosive myth cross. Supermann is an episodic figure, with countless repetitions and variants. Historical progress is not his cause. Changes bounce at him first as pistol balls.

The previous films only represented the quintessence of its all-known program, especially when it is comic dwellings. As a reader, they often turned their inner films with much more rich imagination. No wonder the producers Hollywoods were nervous, directed directors and other staff worn (on thunder was followed by a long way, but how is the simultaneous production of two episodes?) What looks so fast at the carton, had to be bent together in the film. The mental mosaic of frames, flight poses and the striking dynamics ("Woosh", "Bang") Should a reasonably convincing equivalent find on the screen.

In terms of character and psychology, you sat on upscale bestselling authority: Mario Puzo, the overvater "Godfather", Differed in both concurrent parts I and II as the main rotary book author. The full irony and parody’s strugth manuscript was re-sampled again, entalbert and on the flat "truthfulness" (blob which?) or "probability" The original comic figure brought by the preserved Ghostwriter Tom Mankiewicz.

Now you tried to achieve character depth by clip-in star cast: Marlon Brando signed for one "Scandal Gage" of more than three million dollars the contract as a superman father Jor-El. Incidentally, in the first movie, it can be seen against different sources, more long than fun minutes. He does not like that as if he had allegedly requested telepromptic or text posters. He grossed a whole 20 minutes in the Krypton sequence, as a rebellious, fistic scientist, gagged from the catastrophic blind advice of the ways, not so far away from the position General Zods and his spying in the phantom zone.

In addition, Brando’s spatere, sometimes rooted appearance on the earth as a reminder and reminder of the father in the crystalline "Fortress of loneliness", To finally explain the purpose of his adults to his adults. Gene Hackmann, on the wave of his film ruhms as a hard guy, sat down overcoming concerns, and gave the earthly rogues and superitlene snob Lex Luthor. John Williams composed the music for "Superman. The Movie" (Part 1), whereby title anthem, Krypton fanfare and love melody can also be heard in the later stripes and in the latest film.

The talent Christopher Reeve

The crucial factor of the old team around Richard Donner (Camera: Geoffrey Unsworth, "2001") was the toothing of the former visual possibilities with the real actors, but above all with the main character. An unknown, Christopher Reeve, qualified after a long casting in its brand-looking mixture as a raging athlete, aerodynamic (with sailing ticket) and average actor. He changed back and forth, between the surprise, voting (German synchronous voice too headflatical) and gentleman-liable superheroes, who waved in arrival and departure or "Good evening" said, and the Shandtern-Tappisch Clark Kent as a reporter of the Daily Planet in Metropolis (an alter Manhattan Midtown type Deco, but also Fluge Sudwarts the World Trade Center was not avoided). Compared to other sophobic bags downstream of the rusty bodybuilder, Reeve had an adonis stature with a considerable motion of motion (including the Cape facing in the airwind) if he fully performed his airballet, supporting the studio turbulence and before the jerk projection, A suspension railway of straps and wire, which were cut on the chassis in the off-built transport rails.

Reeve was a master of dot landing, the wire remained taut and could be easier to remove as vertical strips from the footage. In 1995, the movie star moved to a cervical spell on a riding accident and has since been marveled from the neck to the footpoint. Reve struggled against the disease. Together with his wife Donna Reeve, he sat down as part of a Paralysis Foundation founded by him for new research methods (U.a. to stem cells) and for the testing of possible healing practices for framed patients.

Hero in the away

The popularity of 1938, in the Ara of the World Economic Crisis, Depression and Fascism "born" Superman heroes was controversial at the end of the 1970s. Superman had become his own parody, a kind of stuttering robot, who no longer knew exactly what or what he did or that did. Superman ever knew what he did? What is the consciousness of Superman, whose blodern name is an invention of Lois Lane, the designation of a blob desiring projection of the sexes? Was not he always a greatly ridden superboy, without adult meaning and mind?

In the 1970s he was part of a saturated, world-wide American Fast Food Culture, since a decade has a stucco Affirmative pop art (Roy Lichtenstein). In the early 1980s he became a threatening cold warrior as in the ingenious Independent song by Laurie Anderson: "O superman. O Judge. O mom and dad" ("Big Science"To). All about prophetic lines treated the ingenious artist in terrores with a large caution:

Here Come The Planes They’re American Planes Made in America Smoking Or Non-Smoking?

Hi Mom! So Hold Me, Mom, In Your Long Arms So Hold Me, Mom, In Your Long Arms In Your Automatic Arms Your Electronic Arms in Your Arms So Hold Me, Mom, In Your Long Arms Your Petrochemical Arms Your Military Arms in Your Electronic Arms

Gutter

Already in 1993, the Gottermamm, Superman died in the fight against the cryptonic mutant monster Doomsday in one with eight million. Exemples highly successful, but only flowers’ episode. Even Hillary and Bill Clinton gave the hero as drawn figures the last honor. A serious dasor for all fans worldwide. A duster dispute over the dead corpse closed, descendants as well as spiritic or cloned successors answered, in the crystalline "Fortress of loneliness", The Kryptonian place on earth, on which apparently everything is possible, was speculated on supermann’s regeneration.

The death and the evident scenarios of the energetic transformation of the formerly boring winner in a really human also-mal-leoser of the brand Clinton Beginning of the new millennium did not speak against it, but for the apparent global strong of the American commerce empire, which on the Bushism Greater Warrior clashes and corresponding heroes could do without for the time being.

The ideological core: dumbbotted pre-programming on world guide

The original concept of the Chrypton planetary of Krypton, who is sent by its father’s father’s father and Helena-identical wife, in front of its own tragic demise, as a homunculus in a crystal capsule to the earth, to survive and humanity, Above all, the US burgers, in case of crisis by spectacular rescue activities, but also in the fight against the Nazis, had not only had to do with positive values. Nothing against a roadmap for peace, reason and compensating justice.

Behind the system-compliant good-boy orientation came out dark pages: the dumbbells preprogramming of a steel harden, dyesia and leather zahen youth. Something of prafascist hornness, Olympic body cult (between Johnny Weismuller, Jesse Owens and Robert Mapplethorpe), Christian Fundamentalism, Old Testamaric Sacrifice, Hohl World Theory, Saucer People, Epidemic Phobia and Warm Heart. In Supermman, the young nation’s even more printed world-wide manner, a highly sealed entitlement conscient, as it was also expressed in the style of the weekly shows of war (and post-war) years before gis, big-macs and steering weapons into the world and for Daily New Order.

"Superman" 2006-Herodizee instead of cross-over

The new Superman is by no means uncomfortable. As a digital specialist, he begins the misunderstandings and preres of the early decades and transforms them into a weakly modified resentment image of the old, all other superior supersman, which, however, more compassion and democratic investment in his struck company "Saves the earth" demands. The justification of God and superheroes in the face of the Ubel in the world, the theo and Herodizee works better than ever. It’s time again, for a new national and global crisis management and a corresponding model figure.

World Power United States is currently, through its political single-time in the nearby and Middle East, lettily and eager in the crisis, while Russia fights around a comeback as a Major Player and the booming China is always struggling and threatened. But so much multilateralism is contractually contracted with an old, too unique figure, a patriotic landing of a broken star and a farm (with Eva-Marie Saint as Mount-Rushmore-Sicht-Mother) in the Midwest? Do not require Earthburgers to ask for an offensive cross-over, Batman, the smarter, ongoing city of the 80s, the crimped South Park Team America, the discriminated mutant Spiderman, Hulk and Hellboy, the fantastic four and the X- Men to a diffuse symbiotic world?

As if he had not filmed X-Men, let Bryan Singer in the post-9/11 world Supermann’s pose two ancient schoolmadchen questions: "Why the world does not need Superman?", In the beginning of the film, the talented news reporter in the world, Pulitzer Prize-Candidate Lois Lane (played by the pouting, mastered Kate Bosworth, which acts like the future mother supergirls and thus a completely different direction as the funny-hysterical single scandal noodle Margot Kidder in the old films). In the end she writes the opposite: "Why the world needs Superman", But that does not necessarily sound convincing than a PR line after 153 minutes of action and a bit of heart pain.

A hero becomes really valuable in the face of strong internal threats and gross opponents. Bryan Singer and his screenwriter Michael Doughherty and Dan Harris have presented a stucco far superman’s internal instability due to his fragile cryptonic origin. In the Gene-Hackman comparison, the appearance of Kevin Spaceys succeeds as the new threatening Lex Luthor, if this braves all power to conquer, master and exploit the entire continents. Singer is paid without coarse deviations, errors, but supple of his heroen and rogues. Above all, he captivates with the consistent work on the digital implementation of the Superman image worlds.

The flying, combat and rescue drama of the hero is increased to the global zouring show, for example if he is America "Multiple pack" of a deployment equal to a new spatial trip (see the Challenger’s mischief) and its carrier plane, a passenger jet, preserves in front of the crash, but the aircraft of the jet embraces handy and the fuselage leads to a gentle touch-down under the applause of the audience in the baseball stadium. Conversely, Lex Luthor slowly reveals out of the shoes of a herbsticker and coarse smearer to become a global rogue, which abuses cryptonal material not only for the laying of the superhero and the failure of global data and energy networks, but attaches to the breeding of a new serenation landline In the Atlantic "New Krypton", To simply pay the previous continents from the map and redistribute the place on the earth. The ultimate ocological and geological terrorism!

Digital up-date and framed oracle

Already in the preload, a digital up date of the Fruheren Sternenfluge is delivered: Titanical pictures, wonders of the ALLS, the Hubble telescope looked out, stern mist, milk strain arms, comets and asteroids are transgrolidated the viewer in the grace of the Ikarous Homes flight, a detailed, plastic tour de Force. In comparison, the old sequences in Part I had something of the grubby slices in Galileis Linselescope. Then, as a reminder, the explosion of a cryptonic planet – an almost timeless cyclic pulsation as in the retina, until the sky corpers crashes into thousands of stucco. For this purpose, from the mouth Jor-Els penetrates the oracle from the eternal myth: "like the father to the son, and the son to the father" will. A formula commented in Brandos Role script more detailed and psychological:

Lists Carefully, My Son, for WE Shall Never Speak Again. IF You Hear Me Now, Then You Have Made Use of the Only Means Left to You – The Crystal Source Through Which Our Communication What Begon. The Circle is Now Complete. You Have Made A Dreadful Mistake, Kal-El. You have abandoned the world for the sake of private ambition. You Did This of Your Own Free Will, And In Spite Of All I Could Say To DIATE YOU. Now You Have Returned Here To Me For One Last Chance To Speem Yourself. This TOO – Finally – I Have Anticipated, My Son. (Pause) Look at me, Kal-El… Once Before, Whhen You Were Small, I Died While Giving You A Chance for Life. And Now, Even Though It Will Exhaust The Final Energy Left Within Me… Look at me, Kal-El!… The Kryptonian Prophecy Will Be at Last Fulfilled. The Son Becomes The Father – The Father Becomes the Son. Goodbye Forever, Kal-El. Remember Me, My Son…

It seems like X-Men director Brian Singer had heard this exhortation and implemented almost slavish. The film works obediently with the complete allusion system from the comics, process films and TV series, with parallel meshes and repetitions from Hollywood’s best times. He presents a style mix of flat screens, mobile phones and art Deco Chic in a WTC-free Manhattan as well as Muhelos as in Australia royal Smallville.

Antimutant and historylessness

Everything is allowed to fly and walk, or even how it is, the world as a whole around Superman around. But Superman may only be a little bit, or actually not today, he is the biggest of the little brave boy; even if he has now developed the freedom conscience of a certain statue and seen the consequences of his existence: be fatherless, in heaven, and now on earth, although he is now under the hand (power of his liffs?) Father has become (how is that? As sleeping with a Superman, an archangel, which is eradicated with heat-beam and ray view, you will find your eyes, or wait a faint moment of the incarnation? Or was it a virgin procreation? Or Uncle Joseph?To).

There is a secret family, on whose existence he, the proclaimer of all people, as on a foreign body, a cryptonic asteroid: the patchwork family of the Starreporter Lois Lane (Kate Bosworth) with their five-year-old Son Jason (Tristan Lake Leabu) and their substitute lifestyle Richard White (James Marsden), the nephew of the Daily Planet Chief Chief Editor Perry White (Frank Langella).

Superman is the consistent antimutant, so much in him gart and bubbles. He is pure abstract identity. The historical development pulls past him. This is justified in the new film not only in the all-purpose resumption of the story, but also in the forefrends of digital technology. Brandon Routh is a new, relatively unknown double for the old Superman actor Christopher Reeve and holds quite passable. Reeve had 25 Superman suits who love different body spaces differing depending on the situation. In one of his closely adjacent high-tech suppets, Routh were printed flat the freshly antitrained muscles. Routh was then missed a kind of full corporal push-up to make the body contours stronger, sexy again, in the form of artificial muscle erections…

Nursery full of railway curves

But just in the digital image of the image, the new superman becomes relatively static: in flight, front and background slipped at the figure as on an inorganic body. Not infrequently Superman looks like an immovable sculpture that is visually accessible from all sides without chucking itself from the spot. Not only in orbit he is a crystalline fixed point, a first "immovable movement" (Aristotle) to turn the all and the human world. Superman’s lens starting, speeding up and its lane pulling are repeatedly replaced by subjective close-ups and camerazooms.

The world appears as a children’s room full of railway curves, as used Lex Luther to try his first crystal attack. Also in the gigantic final struggle for the birth of New-Krypton, the monomaniac perspective of a one-man show prevails, which Superman properly rubs into the almost deadly exhaust. Is he to save through the love of his family and his friends, when the fans in the helpless-blowing Family Soul frozen the stir? O Brian, O Laurie! "So Hold Me, Mom, In Your Long Arms / Your Petrochemical Arms / Your Military Arms / Your Electronic Arms".

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