SUPERMAN II

In my memory this sequel is at least the equal to the beloved original, combining as it does terrific villains with a significant progression in the Lois-Superman relationship (spoiler alert: they sleep together), all directed by Dick Lester with a light touch.

So I was a little taken aback by how unimpressive the early scenes are.

Firstly starters the pre-credits sequence is very odd.  In the first film we see Zod, Ursa and Non sent to the Phantom Zone, but understandably we get to see it again here so as to set up what follows. But there is a glaring omission in that Jor-El is absent, an omission which is most obvious when Zod vows vengeance on Jor-El and his descendants.

This omission is the result of this picture’s very troubled production history in which Lester replaced Richard Donner, and Marlon Brando (who played Jor-El) made such an outrageous remuneration demand that he had to be cut out of the film altogether.  

But none of this explains why this opening scene includes Zod snapping a rod with no explanation as to its significance. (Apparently it’s a data rod containing evidence against Zod, but I had to resort to the internet to discover this).

After a credits sequence of highlights from the first film which goes on way too long we then get an underwhelming opening scene in Paris which ends with Superman throwing a nuclear bomb into space.

When it explodes it causes a rupture in the Phantom Zone, freeing the three villains.  If like me you are inclined to question what the Phantom Zone is doing so close to Earth there is far worse to follow plot wise. 

Back on Earth we have to put up with some unfunny business whereby Luther escapes from prison. Thankfully Otis is left behind not to be seen again, and likewise Miss Teschmacher doesn’t hang around for long.

Things do begin to pick up from here on in.  

Lois and Clark go to Niagara posing as a honeymoon couple, which leads to Lois discovering that Clark and Superman are one and the same.

Superman wastes no time whisking Lois off to the Fortress of Solitude for a romantic meal by candlelight.  

At this point there is a small hitch in proceedings.  It’s a family film so it has to skirt around the simple fact that the all-powerful Superman can’t have sex with an Earthling without endangering them (the mind boggles).

Then a hologram of his mother Lara explains to him very clearly that losing his powers is irreversible. 

Superman agrees to go ahead anyway, seemingly without much thought as to the possible consequences (all those lives he could have saved, for example).

A few days later when Clark has been beaten up by some nobody in a diner and Zod has broadcast to the world that he’s now in charge, Clark realises that permanently giving up his powers might have been unwise.

No matter.  He just hitchhikes his way back to the Fortress, which apparently is possible despite the distance involved and his utter lack of appropriate clothing or provisions. 

Once there he regains his powers with not a word of explanation as to how this is possible.  It’s a gaping plot hole which apparently didn’t exist in Donner’s original conception but certainly does here.

But if you can get past this pretty much the rest of the film is solid gold,  

There’s a battle over Metropolis between the Man of Steel and the three super baddies which is surprisingly good given the primitive special effects

Before that, Gene Hackman is in fine comic mettle in an entertaining scene in the White House in which Luthor tries to persuade Zod of his usefulness.

Luthor then unwittingly plays a major role in the climactic scene in the Fortress, when Superman uses Luthor to cleverly turn the tables on Zod et al.

It’s a shame that the film ends on a weak note with  a couple of dodgy scenes.  

Firstly, Superman hypnotises Lois so that she forgets discovering that Superman is Clark, and all that ensued, without first asking her permission.  

It’s another reminder that back in the 1970s the American film industry was struggling to get its mind round the radical idea that women were fully functioning people with equal rights to men.

Then the final scene in the diner now strikes me as a bit mean, rather than funny, but maybe I should lighten up?

Overall the film is a light and entertaining concoction, and Lester does a decent job of striking the right balance between humour and dramatic action.  

Having said that, this film lacks any iconic moments to match those in the original, and for that reason alone I rate this as one of those sequels that falls a little short.