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Superman III (Movie)
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It should be noted that the version of Superman (while inspired by the version of the character from the Kingdom Come comics storyline) seen in the Arrowverse crossover episode "Crisis on Infinite Earths" (2019) and portrayed by Brandon Routh is the same version of the character that Routh previously portrayed in Superman Returns (2006), which is considered the true sequel to both Superman: The Movie (1978) and Superman II (1980). I wanted to point this out because as we all know, the version of the character seen in the Arrowverse crossover episode has an article separate from the Superman Returns version. In fact, the producers and writers admitted so.
Plus, it should also be noted that said version of the character is the same version as Christopher Reeve's, due to it being considered the true sequel. It ignored the events of Superman III (1983), Supergirl (1984), and Superman IV: The Quest for Peace (1987) was because those three films transitioned away from the formula that Richard Donner set back in '78 -- which was by equally juggling action, humor, romance, and existential contemplation -- in favor of outright campiness and comedy, not to also mention how dated the visuals were when compared to how groundbreaking those in the '78 and '80 films were back then, not to also mention the inconsistencies and plot holes namely in the '87 film. While not without its action scenes, despite its clear lack of a lot of action, Returns helped bring the film character back on the right track by twisting Donner's formula into a modern era with a moody romance.
All things considered, perhaps their respective articles should be merged into one, since "Crisis on Infinite Earths" came into Reeve's/Routh's territories. Since Returns is said to be the true sequel, I'd label the article's mention of both Superman III and Superman IV: The Quest for Peace as set in an alternate reality, since that's the case.
Furthermore, the film incorporated some winks and nods to the '30s era, which was when Superman first appeared in the comics; Bryan Singer used a state-of-the-art Panavision Genesis camera to film, but used both lenses and filters to help give it more of a 1930s feel -- and the costumes that the cast wore were in line with the outfits that people wore back then (his blend of old visuals and looks into a more modern era is his technical mechanism for telling a nostalgic story in this day and age without making it feel dated). As for the criticisms that Brandon Routh received for feeling "pale" compared to Reeve, the thing is, not only was he cast for his resemblance to Reeve, but he also accidentally spilled a cup of coffee when he first met with the director, and that was enough to convince Singer that Routh was perfect to succeed Reeve for the role. Additionally, the references to both the story of Moses (comparing his parents sending him downriver to fulfill his destiny to Jor-El and Lara sending Kal-El to Earth to fulfill his own) and the Christian allegories (comparing Jesus' crucifixion with Superman sacrificing himself to save Humanity from destruction) in Superman's lore are particularly seen in those films. The death and resurrection imagery, combined with the character's haunted observances at Lois's attempts at moving on in life without him, ultimately make Superman Returns the most psychologically probing and symbolically exploratory depiction of Superman's character to be put on screens. (I learned all of this from not just my love of the film, but also from the booklet included with the film's second soundtrack album from La-La-Land Records, and you'd be very impressed with how much that album has to offer compared to the initial album; that's why I included this collage of the film's two albums with this post).
Personally, though, I'll admit: Superman Returns will always remain my top-personal favorite Superman film, followed by Superman: The Movie as my second, largely for four reasons: the third of which being how it picks up where Reeve's series left off, the fourth being John Ottman's perfect score for it, the second being good nostalgia, and the first being a personal connection to it. See, one of my aunts, my father's younger sister, was the one in charge of the sequence when he lands the jet in the middle of the baseball field. She's credited in the film's end credits as that scene's "unit production manager". (If you don't believe me in that regard, that's your problem, but it's true).
Just thought I'd point all of this out to all of you. Neat, huh?
(Edited by moderator)
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