Superman: The Movie
Expanded Edition
WARNER HOME VIDEO - 1031



STATS
Widescreen (2.35:1) Anamorphic, Color, CC, Dolby Digital 5.1, Languages: English, Subtitles: English, French, Spanish, Portuguese, Chapters: 44, Running Time: 154 mins., Rated PG, Price: $24.98



VISUAL
Cleaner, sharper, brighter and with the best contrast ever seen on home video. In fact, the most problematic portion of the film – Krypton sequences – in past release out shines the rest of the film with incredible contrast, detail, color and glowing brilliance. Scenes with off hues have been corrected and for the most part this is how the film looked, as I saw it in 1977. There are a few special effects scenes where rear screen effects show up obviously fake. This not due to the actual process of the effect, but the contrast which is out of whack. The reds are solid, and spectrum varied. I know fans will not be disappointed, especially those who never had the chance to see this film in its original aspect ratio. Any minus’ are probably due to WARNER’S not storing the original elements properly. This fact amazes me since I worked on the SUPERGIRL DVD release and that film has been bumped around from different companies. Although SUPERMAN is very good it still doesn’t equal the quality of the SUPERGIRL transfer.
ON A PERSONAL NOTE, AND IN DEFENSE OF THE VISUAL QUALITY - One thing I’ve found upsetting, not with the transfer but with other critics is their lack of respect for film, and the time they were made. It seems, to many, the world begins and ends with digital effects. It doesn’t! If anything, films prior to the “digital age” are more fortified with talent, and burn brighter, even with their faults due the limitations of the time. I’ve written it before, and I’ll write it again “if you want realism, make a documentary.” For my money, I’ll stick with the true art and nature of filmmaking where the heart is true measure of entertainment, not RAM.



AUDIO
A lot has been said over the changes to the original soundtrack. I feel the best way to describe it is not that it’s been changed, but rather “enriched”. The nature of the technology and the inherent format of Dolby Surround made for a limited dynamic mix. I don’t begrudge the original sound mixers this and I do believe the original mix should have been preserved and made available on the release. With that said I now move onto this presentation of the new 5.1 mix. My disgruntles are small and few. In a whole the “new” 5.1 sound is fantastic. Most impressive is the destruction of Krypton with it shattering crystal and tinkling of glass. This has added a presence, simplistic in concept yet originally ignored, and ingeniously conceived. The “flying” credits are more powerful. Dialog is now, as times panned, off screen to the Front Left or Right. This touch I loved and evokes a big screen quality missing from any film today. Of course the .1 (low frequency or L.F.E.) channel has been the most enhanced. But, strangely, not where it should be – during the earthquake. I was disappointed that a constant low rumble was not present. Instead there are explosions which rumble stronger. Go finger. However, the “turning back the world” scene is incredible. Not only is Superman’s whooshing heard traveling from Front Left to Front Right but there’s a terrific moment when the world stops with a resound roar – wow!



EXTRAS
Side A of Disc
Cast and Filmmakers: There’s nothing more annoying than names of cast, crew and producers which can’t be accessed for further info. I mean, what’s the point of listing these people except to annoy?
Original Theatrical Trailer: An original release trailer that’s in excellent condition, in widescreen (16:9). Note: aside from the SUPERMAN “Love Theme” the rest of the music is from PLANET OF THE APES.
AUDIO COMMENTARY: Director Richard Donner and Creative Consultant Tom Mankiewicz. Recorded so Donner is heard from the Left Channel and Mankiewicz is on the Right. There’s a slight distortion in Mankiewicz’s voice and he comes across a bit muffled. The two talk, with wit recounting the challenges and story changes. Most interesting are the latter where they discuss the original endings between SUPERMAN I & II, and why they were flipped. There are some silent spots, and they do try to relate to what’s happen on screen so this is an entertaining bit of audio need to be “viewed” not just listened to. I did find it odd that Mankiewicz, a story consultant was chosen and not the editor, any of the actors or even the producer?
Music Only Track (Isolated Score) – a very nice feature, but with a double CD released a year prior to this DVD release, a bit useless.
SUPERMAN – THE LEGACY – Text: info covering the creative originators of the now famous character from comics, radio, serials, Broadway, film and TV. Strangely, nothing is mentioned of the SUPERBOY series?
ADDED SCENES: This feature is a waste of digital space since all the following have been integrated into the body of the film and have their own Chapter Stops, and are notated as such, on the in snapper packaging. Jor-el and the Council, Security Council, Meeting Baby Ka-El’s Starship, Young Lois with parents on Train, Mrs. Kent Opens up House, Clark and Jimmy, Jor-El and Superman, Pedestrian and Clark Fire and Ice, Hollywood Sign Falls.
AWARDS

Side B of Disc
All the Bonus Features on this side of the disc are NOT 16:9 except when noted.
Documentaries
TAKING FLIGHT: THE DEVELOPMENT OF “SUPERMAN”: Actor Marc McClure (Jimmy Olsen) acts as host and narrator recapping the how the film was brought together. Among the interviewed are Andrew Fogelson (President of Warner Bros. Marketing ’78-80,, Tom Mankiewicz (Creative Consultant on the film) – who, by the way is the only one to speak positively of the Producing father and son team of the Salkinds. Marlon Brando is heard from, albeit through dated footage, Gene Hackman (new footage), Director Richard Donner (new footage), Casting Director Lynn Stalmaster, Christopher Reeve, Margot Kidder (new footage), Composer John Williams, Most interesting is the glimpse into the different approach first chosen director (on BOND fame) Guy Hamilton. Running Time: 30:16 secs.
MAKING SUPERMAN: FILMING THE LEGEND: Again hosted by Marc McClure accounts the actual filming and production. Those appearing in on camera interviews are Stuart Baird (Edition), Tom Mankiewicz, Richard Donner, Margot Kidder, Yvonne Blake (Costume Designer), Roy Field (Optical Supervisor), Gene Hackman, John Williams Christopher Reeve, and Andrew Fogelson, The problems of shooting two films, in terms of budget and studio politics are broached. Running Time: 030:42 secs.
MAGIC BEHIND THE CAPE: Although narrated by Marc McClure this featurette is hosted by Roy Fields, Supervisor of Optical Effects. He delivers an overview of the many processes’ used to achieve the many very special visual effects. This is the best and most interesting of the featurettes, both informative and in behind the scenes footage. Running Time: 23:45 secs.
Although each are interesting, all in their own right, it seems strange why they weren’t edited together with chapter stops. The first two seem rushed and overview the material never allowing the stock footage to be enjoyed or cherished – which I’m sure, there’s must be even more. Although new documentaries are nice, I don’t like the ideal of being told what to watch or what should be documented when there’s plenty of original material that speaks clearer on its own.
SCREEN TESTS: SUPERMAN, LOIS LANE, URSA All three segments though viewable separate are all hosted by Casting Director Lynn Stallmaster. Reeves’ screen test proves that he’s not only fit for the role in term of talent but extremely photogenic even under the simplicity of a screen test situation. Holly Palance, the nanny who hangs herself in THE OMEN reads with him and delivers her lines unfittingly out of place for its day but more in tune if done today – a bit pushy and obnoxious. The LOIS screen tests really run the gambit with Ann Archer (the best looking), Lesley Ann Warren (too perky), Debra Raffin (also great looking), and of course Margo Kidder (who had the least going for her, including a really bad wig and dress.) Also there’s Stockard Channing (who is probably the most believable as a top reporter in terms of look, attitude – she’s just not Lois.) Susan Blakely comes off being the character as represented in the comics. These screen tests for Lois Lane can be viewed with a running commentary by Lynn Stalmaster. Running Time: 10:57 secs. The URSA screen tests are done more simplistic and show Rohan McCullogh, Carinthia West, Dana Gillespie, Marilu Tulo. Running Time: 2:06 secs.
DELETED SCENES: Strangely these two scenes FEEDING THE BABIES and MISS TESMACHER IS FED TO THE BABIES in 16:9 and 5.1 sound. The combined Running Time of these two scenes are 3:22 secs. These scenes were included in the ABC telecast but never in the theatrical release.
Teaser Trailer: The more notable trailer of the now famous “flying” cast names. A later re-vised version with John Williams music was later made. Wonder why it wasn’t included?
TV SPOT (16:9)
ADDITIONAL MUSIC CUES: Main Titles, Alt. Main Titles, The Council’s Decision, The Krypton Quake, More Mugger/Introducing Otis, Air Force One, Chasing Rockets, Can You Read My Mind/ Pop Version – None are time encoded.


Theatrical Release Souvenir Book Cover

PRESENTATION
It’s disgusting that WARNER is so single minded in their packaging techniques in which they can’t, or won’t, deviate from the snapper. For their best presentations they had to go to an outside source (THE MATRIX and WIZARD OF OZ – but even with OZ the problems persist, mine s already falling apart!) SUPERMAN has and continues to bring in a lot of money for WARNER BROS, so why this sloppy presentation? Yes the animated Main Menu complete with and sound effects is wonderful but you have to but the disc to know that. What lays on the self isn’t talking. In fact, it’s so mundane and unimaginative rookie graphic artist could compete and win. The rear of the “snapper” has only sales pitch text and the inside flap – only the Scene Index, for Side A. No real liner notes. Hell, even the horrible, 25th Edition of THE EXORCIST had an extra flap with pics and some liner notes.



SIGHTS AND INSIGHTS
Believe me, I’m extremely glad to have SUPERMAN flying high again, especially in this top format. However, this release is hampered by WARNER’S below average treatment. This release, misses the mark as an entire presentation in the shadow of what it could have been.
1. More trailers, TV Spots and radio Spots. I have offered my radio spots (2) and 16mm TV spots (3), one of which was banned from TV due to it reference eluding to Christ, “Marlon Brandon as Jor-El, who gave the world his only Son.” Better yet, why wasn’t the New Theatrical Trailer for the recent Texas release put on the DVD – for comparison as how the film has been publicized – as PARAMOUNT did with the TEN COMMANDMENTS.
2. How about International material? Trailers
3. Some the original Behind the Scenes documentaries and or featurettes. Otherwise referred to as vintage material.
4. Still gallery
5. Storyboard Gallery.
6. Lastly, a better cut of the film itself. Lets face it, most really wanted the Network version, which has never aired since. That packaged with the original theatrical version would have made many happy. Quality wise, I can’t complain about this new version. But I do question the editorial decisions. In my opinion, the more footage of Krypton the better. But don’t throw in the “policeman” bit without showing his demise – being crushed as he “flies” through the Kryptonian canyons. Also was it really necessary to add Ma Kent opening up the door, waking up the bird and yelling, “Clark!”. The outdoor lighting, from the front door and windows in the living room is brighter (white) than in the next shot in the kitchen (golden). The sun has already risen in the sky seen in the living room while it’s still breaking over the horizon in the kitchen. (I’m not talking about the clouds either – the lighting is mismatched, probably why it was not used in the first place.
A double DVD, either with two versions of the film or just one for extras should have been planned. Warner doesn’t have that many films to be this proud of so why not give it the kit gloved treatment?

REVIEW by Scott Michael Bosco©

Theatrical Release Souvenir Book Back Cover


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