Christopher Nolan’s films blend realism with superb story telling. However, Superman is rooted firmly in the realm of fantasy. Hopefully, we can expect Nolan and his fellow filmmakers to logically integrate the fantastical with the tangible for the big screen adaptation of Superman.
This editorial will discuss 6 issues that we should demand of the Superman reboot:
- Realism, fantasy and logic
- Plot versus action
- 3 Dimensionality and layers
- A dilemma that challenges Superman both physically and mentally
- The villain (and why this editorial favours Bizarro as the main antagonist)
- The inclusion of Superman in a common character universe
All of these points need to work as a unified whole and make valuable contributions both to the film and each other. These issues should apply to other comic book movies.
Realism, fantasy and logic:
The depiction of realism in the reboot should lie with Superman’s interactions with the real world. This is where physics comes into play. Gravity exists, as does momentum. Structures and constructs have weaknesses. So, if Superman were, for example, to lift a car by its roof, the metal may not be able to withstand supporting the entire weight of the car and may sheer.
Nolan depicts his Gotham City as real by his use of actual cityscapes, monumental high-rise cinematical photography and urban decay. It is also Nolan’s handling of the visual effects and on set effects that contribute to the realism. The realism in this reboot may come in the form of a logical and sensible approach to the portrayal of landscapes (alien and earth based), physics and action in order to create believability. Extended metaphors can be the tool to represent reality, albeit philosophically. The villain can be the means to depict this notion: Brainiac, for example, can be seen as a metaphor for the implications technology has on humanity.
In other words, the metaphors work as parallel narratives. Although Nolan's Batman films incorporated realism into their narrative, the filmmakers on the Superman reboot must not forget the fantasy aspect that relates to Superman and his mythology. There must be a logical approach to depicting fantasy in the series of Superman films.
Another area to explore is how realistically no-one in the world can figure out that Clark Kent, mild-mannered reporter for the Daily Planet newspaper, shields his true identity of Superman with merely a business suit and a pair of glasses [from Duffy: www.scope.nottingham.ac.uk]
Plot versus action:
The action must not become more important than the plot. This statement specifically relates to films like X-Men 3 [from "www.libertypages.com"]. In other words, the film was like visual candyfloss, where attention focused more on the action and as a result had very little substance. Following this notion, we must realize that a strong character piece must not negate the action either. This is true for Superman Returns, which is very much a character piece but failed to deliver any adrenalin in terms of its physical energy [from "www.libertypages.com"].
Therefore, what we need is a sustainable balance of action versus plot. One cannot overcompensate for the other, but rather act as mutual reinforcement.
3 Dimensionality and layers:
With the current trend of movies favouring 3D, we may find a movie of this nature to be shot in 3D. However, the 3-dimensional aspect in this editorial refers to the characters rather than the viewing method. What many comic book movies lack is a coherent piece where characters are multi-faceted individuals. A wise green ogre aptly said:
“Ogres are like onions". "Onions have layers. Ogres have layers.” What he obviously meant with this statement is that ogres are complex creatures. Whilst superficially Superman possesses great powers, he is a far more faceted character than to be simply denominated by his abilities alone. Lois Lane, Lex Luthor and any villain are like ogres – they have layers. This 3-dimensionality concept can be extended further to include the characters’ relationships. The Fantastic Four movies did not sufficiently expand on their characters’ personalities and complexities. Like X-Men 3, they went for style over substance.
We should demand an epic governed by diversely intricate characters combined with energetic action and a dynamic plot.
A dilemma that challenges him both physically and mentally:
The very idea that Superman possesses god-like abilities can be one aspect in this regard. How do you create an interesting story based on an alien who is bestowed with incredible physical powers? Any super villain would serve to exploit Superman’s weaknesses and challenge the man morally and physically. One such weakness is, ironically, Superman’s humanity. Ultimately, we know that Superman will save the day and defeat the super villain, which makes it even more important that Superman has to battle his emotions.
The villain and why this editorial favours Bizarro as the main antagonist:
There is a villain that truly shows Superman for who he is and accentuates his qualities and possess power on an equal level to Superman. The answer is Bizarro. This "imperfect duplicate" is not only a physical distortion of the Man of Steel, but a twisted, illogical version of his intellect and morality as well (from Mark Engblom: "http://comiccoverage.typepad.com").
Bizarro has always embodied the frightening reality of the power of Superman untethered from wisdom and self-control [from Mark Engblom: "http://comiccoverage.typepad.com"].
This exposes a duality where Superman represents light and Bizarro dark. Could Nolan and his fellow filmmakers use this malformed copy to express the idea of unrestrained power? Could this be the metaphor that governs part of the moral behind the story in this movie? Bizarro, like Brainiac, could be seen as a parallel narrative to the real world. Therefore, the idea of Bizarro is not simply an excuse to have Superman fight someone that possesses power on an equal level, but rather to explore more fundamentally what happens when great power is in the wrong hands or used unwisely.
Whether the villain is Bizarro, Brainiac or The Eradicator, he must contribute to the plot and narrative. He (or she) must be more than an excuse to supply action.
The inclusion of Superman into a common character universe:
Since you already acknowldege fantasy in a Superman movie why not take it a step further and allow other super powered beings to exist. The fictional existence of one alien world, like Krypton, opens up the possibility of numerous fictional alien worlds. Therefore, there is logical and realistic reasoning to populate Superman’s universe with a varied assortment of aliens and beings. It just seems completely unfair to exclude a diversified character universe. An important question is: How can Superman devote his time mostly to Metropolis when the rest of the world also needs him? If the Flash, Wonder Woman and Green Lantern were part of a unified universe, then they are the other heroes that the world can depend on and Superman does not have shoulder the sole responsibility of saving the world, and therefore he can afford to concern himself primarily with Metropolis.
Duality in this movie is the simultaneous juxtapositioning of various elements:
- Light and dark - Superman is a symbol of hope and he must battle dark elements.
- Good and evil - A typical comic movie scenario
- Plot and action – Equalized in order to maintain both substance and style without one dominating the other.
- Fantasy and realism - Approached dialectically by the filmmakers - this is a comic book movie with an alien who possesses super powers after all.
- The Superman-Bizarro pairing equates to a distinct duality of wisdom and depravity.
- Physical and mental challenges - Profuse physical action should be coupled with moral dilemmas
Final note
Nolan may be mentoring this project, but that should not override the as of yet undetermined director’s vision. It should be a collective effort from the likes of Nolan, the director, the writers, Geoff Johns, Bruce Timm and the studio.