David Bridges
After immersing myself in James Gunn’s Superman trailer multiple times in recent weeks, I found myself on a delightful Superman high. To keep this excitement alive, I decided to undertake a nostalgic journey during my Christmas break by rewatching all of the Christopher Reeve Superman films. Although I had seen these films before—I’m old enough to have experienced IV in theaters—I hadn’t revisited them in sequential order for decades. What emerged from this viewing experience was a stark realization of one of the most rapidly declining franchises in cinematic history, though I believe there’s an interesting historical debate regarding the ranking of two of the films.
It’s universally accepted that Richard Donner’s 1978 masterpiece, Superman, is a cinematic classic. This film is not just epic; it’s a treasure trove of unforgettable scenes that has secured its place as one of the greatest superhero films of all time. Clearly, it reigns supreme as the best entry in the franchise. Following this, Superman II does take a step down in quality but successfully wraps up the narrative arc established in the original, culminating the journey of Clark Kent and Lois Lane and bringing closure to the General Zod storyline.
However, as I transitioned to Superman III, I quickly realized that this was a regrettable choice. The film opens with Richard Pryor’s character navigating the unexciting environment of an unemployment office. Miraculously, he transforms into the world’s most exceptional computer hacker. Meanwhile, Clark Kent returns to Smallville and develops an inexplicably close relationship with an old classmate. Adding to the absurdity, Pryor and his malevolent employer concoct a fake kryptonite that resembles a cigarette, which inexplicably alters Superman’s personality, turning him into a less-than-heroic version of himself. The viewers are subjected to an agonizingly extended display of this ‘evil’ Superman. Ultimately, the film culminates in a confrontation where Superman battles his own darker self, regains his integrity, and faces off against the hackers while inexplicably forgiving Pryor’s character. To put it bluntly, this film is a monumental disappointment.
The experience of watching Superman III genuinely frustrated me. If I had been in the mood for a Richard Pryor film, I would have chosen one instead. This movie clearly prioritizes Pryor’s star power over the essence of Superman, resulting in a misrepresentation of the characters, a lack of a coherent plot, and an overabundance of misplaced comedic elements. It feels more like an anti-smoking campaign than a true superhero narrative. This realization left me quite apprehensive, as my memories of Superman III and IV were hazy. I had always believed IV was the worst installment, so I approached it with significant trepidation.
With my expectations set low, I was pleasantly surprised to discover that Superman IV: The Quest For Peace turned out to be vastly more enjoyable than its predecessor, Superman III. While it still falls short in numerous respects—let’s not kid ourselves—it at least strives to embody the spirit of a Superman film. In this installment, Superman rekindles his romance with Lois Lane, once again portrayed by Margot Kidder, who features throughout the film. Lex Luthor returns with a new underhanded plot, brilliantly played by Gene Hackman, and Superman must confront a new adversary, Nuclear Man. This character represents a threat to world peace, aligning with the overarching themes that are essential to the Superman mythos.
However, it’s important to note that the film’s narrative unfolds far too conveniently, and apart from the ever-reliable Reeve, the rest of the cast seems apathetic about their roles. Superman IV inconsistently disregards plots from previous films, suffers from poor production quality, and appears to be a scaled-back version of a once-majestic franchise. The action sequences are lackluster and fail to capture the grandeur one expects from a superhero epic. Ultimately, it’s a flawed film, but it stands as a slight improvement over the disastrous Superman III.
As the film concluded, I noted that Superman IV is also approximately 45 minutes shorter than its three predecessors, which is a welcome relief for viewers. This brevity, however, comes with its own set of issues. After watching both films back-to-back, I felt confident in my rankings: Superman stands at number one, followed by Superman II, then Superman IV, and finally, Superman III. This ordering felt nearly indisputable. Therefore, when I checked Wikipedia and Rotten Tomatoes to see that Superman III is regarded more favorably, albeit marginally, than IV, I found myself quite taken aback. It seemed that the narrative I had formed in my mind was at odds with the consensus. Having just watched the two poorly received films in succession, I felt that history was inaccurately portraying Superman III as superior. In my view, Superman III is fundamentally flawed in every conceivable way, whereas The Quest For Peace at least attempts to align with the core themes of a Superman film, which elevates it slightly.
Fortunately, Warner Bros. offers a perfect palate cleanser for these cinematic missteps. I’m not referring to the unofficial sequel, Superman Returns, from 2006; rather, I’m talking about Super/Man: The Christopher Reeve Story, an exceptional documentary that delves into the life of the man behind the character and the character himself. This documentary might just be the finest Superman film ever created, bringing a heartfelt and insightful perspective that is sorely needed after enduring the previous disappointments.
All of these films are currently available to stream on Max.
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