Unlike the bright-eyed and light storytelling of 1978’s “Superman: The Movie”—as well as
its subsequent sequels in the 80s’—“Man of Steel” aims to be much more grizzled
and grounded with its approach, which we should only expect coming from the
production team behind “The Dark Knight”. And for the most part it manages to
build its characters and maintain the momentum of its multi-stranded plot
pretty well. Though this origin story has been told to death, this film mines
an emotional and thematic drive in Clark Kent’s past that is filled with great
performances and compelling tragedy.
“Man of
Steel” retells the origin of Clark Kent/Superman (now played by the English
Henry Cavill) while it intercuts in between an A-plot about earths invasion by
a gang of hostile Kryptontonian survivors. Their leader, the vengeful General
Zod (Michael Shannon), is hell-bent on destroying everything in sight, in
search for our rogue hero. Peripherally,
we also see how Superman’s first big entrance into the city of metropolis is
tracked and recorded by the hard-working and stubborn reporter, Lois Lane (Amy
Adams).
Released
on father’s day weekend, this screenplay deals heavily with the themes of
fatherhood and the importance of knowing where you come from. Russell Crowe as Clark’s alien father Jor-El
and Kevin Constner as his earth-dad Jonathan Kent infuse a surprising amount of
heart and tenderness into this otherwise brutish movie.
The
other main concern of this story has to do with the notions of repression.
Clark quickly learns growing up that he
can’t express his true self to just anyone and he subjects himself to a lot
of personal and existential torture by
not allowing himself to be open about who he is, where he is from, and most of
all, his incredibly dangerous abilities.
Undoubtedly,
there’s a lot to like in this movie. The story is well crafted, the acting is
great, the characterizations are compelling, and the filmmaking is ambitious.
So what doesn’t work? Well…
Though Christopher
Nolan and company may have manufactured this vehicle, the
all-sizzle-and-no-steak director Zack Snyder (“300”, “Watchmen”, “Sucker
Punch”) is behind the wheel. This is without a doubt some of his best work and
under Nolan’s watch he manages to tone down his usual misgivings, including the
usual green-screen eye ball assaults, fetishized gender dynamics, and his incessant
use of slow-down-speed-up. Throughout, you get the feeling that by using
someone else’s toolbox, his style has been greatly restrained. However, when
the showdown between Superman and Zod finally kicks into gear Snyder’s shackles
are unlocked and his blunt aesthetics become increasingly pronounced.
By now
you have no doubt heard of about the controversies surrounding the astronomical
civilian body counts in this movie. The destruction of Metropolis dwarfs the
devastation of 911 and making it all the more disconcerting is how these action
scenes are shot to evoke the ground-level news footage broadcasted on that day.
Snyder doesn’t seem to be using this imagery with a discernible purpose and
more importantly it undercuts the whole basis of what Superman is supposed to
be about as a protector and as a hero. Sure, this ongoing set-piece is satisfying and
well-staged but as every skyscraper tumbles you can’t help but wonder how many
more bystanders are dying in all of this mindless wreckage.
So
here’s the contradiction with Nolan and Snyder’s “Man of Steel”; as a story and
as drama things are looking very good for this reboot, in part because of the realistic
and darker tone. Conversely, in employing this choice, the sci-fi action
becomes deeply problematic and flippantly mishandled. Does the final twenty
five minutes sink the whole picture? No it doesn’t. Too much of it is working
too well to dismiss the movie all together but it sure does leave you with a
bittersweet taste in your mouth.
Grade: B –
Grade: B –
Originally Published in the Idaho State Journal/June-2013
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