Up, up and away … to another Superman movie
Actor David Corenswet plays Superman in the film being released July 11. (Photo: Warner Bros)
CU Boulder’s William Kuskin, who teaches a course on comics and graphic novels, considers Superman’s enduring appeal as Hollywood debuts a new adaptation about the Man of Steel
A new arrives in theaters Friday, raising the question: Will American moviegoers turn out in large numbers to watch it?
Some recent superhero-themed films from Marvel and DC Comics have underperformed at the box office, prompting a debate about whether moviegoers are suffering from. However, there’s some reason to believe Superman will prevail against lethargy thanks in part to a dedicated, supportive fan base, saysWilliam Kuskin, University of Colorado Boulder Department of English chair, who teaches a popular course oncomics and graphic novels and whose expertise includes popular culture and film.
“The comic shop boys I hang out with have been talking about this film for a bit now. To normal mortals, we’re probably all exhausted with the latest summer blockbuster movies, but I think there are going to be a good number of fans who will go see it,” he says.
CU Boulder Professor William Kuskin, chair of the Department of English, notes that the new film Superman may prevail against "superhero fatigue" thanks in part to a dedicated, supportive fan base.
Even beyond those most ardent of Superman fans, Kuskin says he believes the Man of Steel continues to enjoy approval in popular culture in part because he uses his superhuman powers to fight for—making him a symbol of unity in a time when the country is deeply divided.
Additionally, Kuskin says that with this new film, DC Comics has signaled it is turning away from the dark, gritty tone that permeated its previous superhero films, most notably the Batman trilogy directed by Christopher Nolan and the 2021 Zack Snyder Justice League movie, where Batman has a dark vision of Superman being controlled by the Kuskin says he believes such a move could help broaden the film’s appeal as DC seeks to relaunch the franchise.
“I think the goal with the new movie is to be not so dark; it’s to brighten him (Superman) up and in some ways bring us back to the model that (Superman actor) Christopher Reeves set in the 1970s,” he says. “I think that’s also reflected in the choice to have James Gunn direct, as they (DC Studios) were looking for a director who could bring some joy to the franchise. ”
Gunn previously directed several Marvel films, including the Guardians of the Galaxy trilogy, where he earned a reputation for bringing some charm and levity to the franchise, Kuskin says. As just one example, he points to Star-Lord’s extended disco-dance scene to the tune “” in the opening of the first film.
What’s old is new again
While DC Comics may be looking to get audiences back into theaters by recreating Superman’s positive, wholesome appeal in movies from the 1970s and 1980s, Kuskin says it’s important to note that Superman’s persona—and his superpowers—have evolved since he first debuted in Action Comics in 1938.
Upon his introduction, Superman was remarkable for being “faster than a speeding bullet, more powerful than a locomotive (and) able to leap tall buildings at a single bound.” However, as Kuskin notes, Superman couldn’t actually fly in the beginning, and many of his other powers were added over time to make him more formidable.
Perhaps even more notably, Kuskin says Superman could be an antagonist if the situation called for it.
“The very first Superman story has him saving a woman who has been falsely accused of murder. Superman has to break down the governor’s door and insist in no uncertain terms that the governor rescind her sentence,” he says. “His message is that the ethical choice is always obvious—even if it means turning against the government, which makes him a figure, essentially, of anarchy.
Superman debuted in Action Comics in 1938. (Art by Joe Shuster and color by Jack Adler)
“The story conveys that it takes someone with real guts to right those wrongs; it’s a really powerful message.”
As Superman entered the World War II years, Kuskin says, he joined the pantheon of superheroes who battled the Axis powers in the pages of comic books. Around that time, Superman took on the qualities of not just a hero but an American savior, Kustin adds—even though his well-known origin story has him being born on the planet Krypton.
“With the embrace of ‘truth, justice and the American way,’ that’s how Superman transforms from something of an anarchist to this figure of Americanness,” Kuskin says.
He notes it was also during that time period that Superman came to be defined as a contrast to DC Comics’ other main hero protagonist—Batman. Whereas Superman embraces authority and represents a figure of absolutism, Batman tends to operate outside of the law. In fact, in Batman’s formative years in the late 1930s and early 1940s, he used guns and operated “as a masked vigilante seeking to make (Gotham) city safe for commerce,” Kuskin says.
At the same time, Kuskin adds, with no superpowers to speak of, as a practical matter, Batman was forced to rely on his intelligence, his cunning and his gadgets.
Meanwhile, Kuskin says it’s worth noting that Batman and Superman are derivative of earlier comic book heroes, particularly, a superhero from Venus whose superpowers roughly mirrored those of Superman, including super-strength and X-ray vision, and, who was a somewhat wealthy costumed crime fighter with no superpowers, akin to Batman, who relies on his intelligence and skill with his two handguns.
Masking and unmasking
Kuskin says one of the more interesting aspects of Superman and Batman relates to masking and unmasking, and what it means symbolically to their roles as heroes.
“Superman is a figure of extroversion, so for him it’s all about unmasking. It’s about going from glasses—which indicate a studious nature and a monastic sensibility—to no glasses,” he says. “My read of Superman is that the glasses are a signal of allowing himself a release, while Batman is the opposite. He goes from no glasses to putting on a mask, so it’s a signal of masking and turning inward.
“To put it another way, Superman is the extrovert who can’t wait to shed his suit and tie and leap out the window and proclaim his affinity for humanity with all his boundless energy. Batman is the exact opposite,” Kuskin says. “He needs to hide his external nature to deal with the world, not as himself, but as the truly dark version within himself. That expression is not very healthy, but it’s the only way he can really make a difference in the world. It’s effective, but it’s not a celebration in any way; it’s more of a revelation.”
In the end, Kuskin argues, all superheroes fall into one of those two molds, as an extrovert or the introvert. If that’s the case, it begs the question: Which one does Kuskin prefer?
“Well, I have Batman tattooed on my arm, and I don’t have one of Superman, so that probably tells you something,” he says with a laugh. “For one thing, Batman has the narrative constraint of not using guns because of his ethical position. It’s also a constraint that makes it even harder for him to be victorious, and yet Batman never loses. And then there’s the whole issue with his traumatic childhood, so he’s not even playing on a level playing field. He’s got problems and he has to deal with those, too.”
Meanwhile, back at the cineplex
While superhero movies have enjoyed a mixed reception as of late, Kuskin says he believes a lot of that has to do with the quality of the storytelling (or lack thereof) rather than audience support for the superhero genre. He gives special credit to the Marvel franchise for the strong continuity of its storylines across multiple films, and particular kudos for the storytelling in its Avengers Infinity War and Avengers Endgame movies.
“I loved Endgameand Infinity War. I thought they were wonderfully crafted and heartfelt,” he says. “After that, I didn’t find much joy in either Marvel or DC offerings. I did really like Robert Pattinson’s rendition of Batman. I felt he captured the sense of introversion that lies at the heart of Batman. And there’s a scene where he makes a public appearance as Bruce Wayne and he’s so beaten and so broken. That is the reality of Batman, so I really enjoyed that movie.
“Will I go see this new Superman movie? The jury’s still out,” Kuskin says. However, after watching the 7-minute movie trailer, he says he’s a bit underwhelmed, based upon what he sees as an over-reliance on CGI effects and slow-motion punches—seemingly at the expense of a compelling story.
“I still think Batman is king. Society has become despairing and Batman’s despair speaks so powerfully,” he says. “Still, Superman is a tremendous property, so we’ll see what DC studios can do.”
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