2015 Blind Spot Series - Superman II: The Richard Donner Cut

Nowadays, there are more cinematic superhero franchises going than you can shake a cape at. Back when I was a kid, there was only one: Superman. I watched them all as they came out so many years ago. Superman II was my favorite. It had much more action than the first and was simultaneously silly. I was nine. This worked. A couple years ago, when the franchise reboot Man of Steel came out, I decided to revisit the entire series to see how it held up. My conclusion for the first of the sequels is that it was fun, but the tone was entirely too uneven giving the movie a herky-jerky feel. Many of the issues seem to stem from the mid-film firing of director Richard Donner over the direction of the movie. Donner had a darker vision in mind for The Big Blue Boy Scout while the powers that be wanted a lighter picture. Though much of the footage was shot, Richard Lester was brought in to shoot some more with that lighter tone. The result is what we now know as the theatrical version of Superman II. At the time, I hadn't seen Donner's cut of the film which first surfaced in 2006. Now, as part of the Blind Spot Series, I have.

Right away, a difference between this version and the theatrical one becomes apparent. The Richard Donner Cut, TRDC, gets to the point quicker in almost all cases. There are entirely new scenes featuring our main characters, and/or scenes we already had with them are expanded. On the other hand, those featuring non-essential characters are either shortened or removed. The slapstick comedy that served to pause things in the theatrical cut have largely been left out. That isn't to say this is a humorless affair. It's just that comedy is kept to a few lines of dialogue here and there as opposed to short skits woven into the film's fabric. This gives us a greater emphasis on character development. In particular, there is a greater emphasis on Superman (Christopher Reeve), himself. His relationship with his father is now a focal point where it's almost entirely absent from what made it to the big screen. This is done by restoring previously dumped footage of Marlon Brando. Our hero's relationship with Lois Lane (Margot Kidder) is also expanded and moves along much quicker. Right from the start, she is feverishly trying to prove that Superman and Clark Kent are indeed the same person. Her act of daring her hero not to save her takes place much earlier, and is different from what happens in the theatrical release. The same goes for how she eventually finds out her suspicions are correct. What takes place in TRDC sees her actively force the issue. This feels truer to the aggressive style of journalism we're told she employs. It's a wonderful moment for her where she truly gets the best of Superman. It helps to cement the foundation of their relationship. We see more of why Superman loves her. What she brings to the table is made clearer.

Our villains also benefit from the greater emphasis on character. Most improved is the hulking mute, Non (Jack O'Halloran). In the theatrical version, he is a gigantic slice of comic relief. His allegiance to General Zod (Terence Stamp) seems to be simply because that's who got to him first. There is little evidence he cares one way or the other about what's going on, so long as he is obedient to Zod. Here, that effect is lessened by removing most of the bits showing him to be a buffoon and expanding on his actions during times when our trio is causing mayhem. I am particularly referring to when they storm The White House. He becomes a more serious, more menacing individual, and therefore, more willingly complicit in his own evil deeds. Non's growth serves to enhance Zod, as well. We understand better why he would include such a person in his inner circle. Zod becomes more competent, and through the same invasion of The White House, more threatening. Ursa is largely unchanged, though, remaining an instigating presences constantly buzzing about in Zod's ear.

SPOILER ALERT!!!

As all stories must, TRDC comes to an end. This is where it gets a little strange. Before I tell you why, I have to mention just how this cut of the film was made. With Richard Donner in the driver's seat, back in '06 with help from others, it was stitched together using the footage he shot while still employed as the movie's director. Test shots of things not actually filmed were also used. Most importantly, the original script was used as a guideline. You may or may not be aware that all of Donner's stuff for this movie was shot simultaneously with what would become Superman: The Movie. This is significant because that film ends, rather nonsensically, with Superman flying backwards around the Earth fast enough to reverse its rotation, and time itself, bringing Lois Lane back to life. Initially, that trick was to be used for the ending of part two, but for a different reason. And so, Donner pulls it back out for this version. This begs a few questions. Since the flying backwards thing was already used, what would he have done to end this movie, if allowed to complete it? If he had his way, what would Donner have done with the ending of that first movie? In which movie does this ending fit better? To be honest, it's completely illogical in either case. It works slightly better for the sequel, but I actually prefer what Richard Lester and/or the Salkinds (producers and owners of the character's rights, at the time) came up with as a just barely more plausible course of action for Superman to take. I'm referring to the now infamous Super-kiss that erased Lois' memory of Clark and Superman being the same person.

Having finally laid eyes on TRDC, I must say that I prefer it to the theatrical version. It's not really that close, either. This one flows smoothly and doesn't repeatedly pull me out of the movie with unnecessary attempts at humor. the exclusion of Lester's additions make this a much more concise picture with a clear idea of the feelings its trying to convey. It succeeds in creating a darker Superman movie without making the protagonist a creepy stalker like in Superman Returns, or a morose depressive, as in Man of Steel. It's also a deeper film, exploring more facets of Superman's reality. Given this greater opportunity to shine, Christopher Reeve responds with his best performance in the role. I may be biased because I prefer more serious-minded superhero flicks, unless we're talking about self-aware comedies, which this is not. In fact, nothing in the theatrical cut of Superman II strikes me that way. It's just random goofiness inserted just for the sake of including some shenanigans. This might make the version that made it to theaters a more "fun" movie, especially for the kiddies, but TRDC is both tighter and more complex. It gives us layers to peel leading to a more involving and satisfying experience.

Check out more Blind Spot Reviews

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Manos: The Hands of Fate

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This review was posted as part of Ryan's Blindspot Challenge at The Matinee.