Film and TV

Man of Steel: Making Sense of All That Christ and Death Stufff

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To: Stephanie Zacharek
From: Alan Scherstuhl

I shudder at the thought of those Man of Steel term papers, since I taught college English during the reign of The Dark Knight, a movie paper-writers assured me was about chaos and duality, even as none of those paper-writers ever let me know what it actually said about chaos or duality. I felt that frustration as I watched Clark Kent hitchhike around all done up like a Kris Kristofferson He-Man Christ: "But what about this Super Jesus?" I wanted to ask.

In all this carping, I don't want to overlook the fact that much of the movie works. The Kansas material is affecting—he wears a Royals shirt!—and the superhero battles here are the first I've ever seen onscreen that measure up to the scale of actual comic books. The lengthy battle in downtown Smallville is a legitimate marvel, a rare case where the too-muchness (your phrase!) of movies like this seems a form of generous madness. To say that every punch looks like a million bucks is to lowball the pricey, creative mayhem.

The later fights are bigger still but lack that first one's clarity, and they're also more afflicted by the problem you mention: Rather than destroy such wide swaths of Metropolis, the Superman the world has loved for so many decades would find a way to take the battle elsewhere. There's glory in the moment he and Zod smash each other into a goddamn satellite, but the movie offers no explanation for why Clark can't continue to chuck him into lower Earth orbit—and actually save some of the lives he's been sent to save.

And then, at the end, to save a handful of lives, this Superman dares what no previous Superman would. [EVEN BIGGER SPOILERS THAN BEFORE, PEOPLE, SERIOUSLY.] Coldly, like the morally compromised hero of some spy flick, our Superman snaps the neck of his antagonist, which is exactly what Jesus would not have done. Or Superman, as most of humanity has understood him. Glen Weldon, author of Superman: The Unauthorized Biography, has assured me: In thousands of comics, Superman has only killed, once—a couple Kryptonians who annihilated every living person on an alternate Earth. He then exiled himself to space for a year; this Superman, by contrast, seems to punish himself with journalism school.

There's lots of talk of ideals in the Superman movies and comics—isn't the point of ideals that they're held to even in the face of serious adversity? And isn't the point of Superman that his humanity is greater even than his powers, and that with those powers he can achieve the most humanistic of ends? So why does he cave in to the temptation that James T. Kirk avoided just a month ago in Star Trek Into Darkness? As he's got Zod choke-held in Metropolis' knock-off Grand Central Station, why doesn't Superman up-up-and-away them both through the ceiling? Or burn an eye-ray hole in the floor? Or blow the civilians to safety with his super-breath? Why does he not spirit Zod to the Arctic, imprison him in some hokey/fantastic Super Jail, and then have to explain to the world that we have to trust him on this one?

In short, why in the hell does Superman kill? And what does it mean that Snyder, Nolan, DC, and Warner Brothers think this is what the world wants?

To: Alan Scherstuhl
From: Stephanie Zacharek

That idea of "We'll have to trust him on this one"—that's essential to the spirit of Superman, and Man of Steel isn't completely ignorant of that. I love that moment where Superman is led to jail in handcuffs, and Lois looks at them quizzically—like, can't he just melt those dumb things away? And he explains that if wearing the handcuffs willingly makes people more comfortable with him, he's fine with it.

Superman can do anything—just about—which is why people have loved him for years. As you've said, Alan, he has so many other options open to him: melting a hole in the floor, anything. He has all these tools that mean he doesn't have to kill a man. Plus, he's just a really good guy. So why, in this version of the Superman story, does he kill? It's untrue to the spirit of the character, but maybe worse yet, it makes him like every other bozo who "just can't take it anymore" and loads 100 bullets into someone. Well, OK, it's a little more visceral than that. But still—Superman should have a greater sense of honor than this, and he should also have his wits around him, even if he is fallible.

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Alan Scherstuhl is film editor and writer at Voice Media Group. VMG publications include Denver Westword, Miami New Times, Phoenix New Times, Dallas Observer, Houston Press and New Times Broward-Palm Beach.
Contact: Alan Scherstuhl
Stephanie Zacharek was the principal film critic at the Village Voice from 2013 to 2015. She is a member of the New York Film Critics Circle and of the National Society of Film Critics. In 2015 Zacharek was named a finalist for the Pulitzer Prize in criticism. Her work also appeared in the publications of the Voice’s film partner, Voice Media Group: LA Weekly, Denver Westword, Phoenix New Times, Miami New Times, Broward-Palm Beach New Times, Houston Press, Dallas Observer and OC Weekly.