But the point is, these effects on a vast scale are done well, and they upped the ante in the superhero genre. They are done traditionally, with back projection, traveling matte shots, blue screen, optical printers and all the other tools rendered obsolete by CGI. Is it only my imagination that the old-fashioned effects seem to have more weight and presence?
The subterranean lair of Lex Luthor (Gene Hackman) is an example of classical set construction, probably combined with some effects. Luthor and his assistant Otis (Ned Beatty) and mistress Eve Teschmacher (Valerie Perrine) lead a bizarre existence in what seems to be a subterranean train terminal. The film lacks the usual vista of Bond-style minions laboring at giant machines; instead, Hackman perhaps outsources his villainy. His plan to trigger the San Andreas Fault, drop California into the sea, and end up in possession of the new seacoast is rather glorious, I think.
Schemes no less absurd were plotted in Superman comic books, and in Bond movies. But "Superman" pushes on into the realm of comedy. Donner pulls off a balancing act involving satire, action, romcom clichés and of course a full serving of clichés from hard-boiled newspaper movies. What's admirable is that Salkind and Donner realized they had to make a comedy. The film came in an era of Disaster Movies that took themselves with dreadful earnestness, and they knew the essential element of Superman was fun. Superheroes who came later to big budget movies, notably Batman and Iron Man, would be burdened with angst. But Superman was above that sort of thing. Above it, or emotionally incapable of it, or whatever.
Flashback: Alexander Salkind, his son Ilya and his wife Berta held a press dinner at the Majestic Hotel in Cannes to celebrate "Superman." Toasts were given, speeches were made, and then Berta rose majestically and shattered a glass on the floor. Silence fell. She was the great love of his life, a flamboyant Mexican woman.
"Alexander Salkind says he produced this film," she proclaimed. "He did not produce 'Superman.' My son Ilya produced 'Superman.' And I produced 'Ilya!'" She then started throwing plates, glasses, bottles, vases and pitchers around the room. The guests dove beneath their tables.
The headwaiter summoned aid. Berta was quieted and taken from the room. Waiters materialized and swept away the wreckage. New tablecloths and place settings were laid. Alexander, having attended his wife, now returned to the room.
"I think," he said, "we will skip the cheese."
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