For the first time in over thirty years, DVD gives us Superman II: The Richard Donner Cut,
a film many – especially the aforesaid director – thought would never
see the light of day. Thanks to a mass of fan petitioning – and, of
course, the power of DVD – Warner, and the other powers-that-be, have
decided to give ‘em what they – we - want. For those not in the know, Superman and Superman II
were filmed simultaneously –not back to back, but together. In other
words, when Richard ‘Dick’ Donner would shoot a scene in ‘The Daily
Planet’ for Superman, he’d shoot whatever needed to be shot for Superman II in the same location. Quite a juggle. When the budget for the films’ started to spiral out of control, Donner was ordered to suspend work on Superman II – which he had completed about 70% of – and finish the first film. Donner expected to return to work on Superman II once the first film was in the can - but alas, that wasn’t to be. Donner was let go. The producers had decided to cut Marlon Brando – who had filmed his scenes – from Superman II
altogether, because it would mean they wouldn’t have to pay the actor
his staggering fee. They also decided on a few other cost-cutting
exercises – including dumping Donner, who according to the producers
was one costly element that needed to be eliminated. Believing that he
worked too leisurely, and would ultimately hurt the bank, the moneymen
replaced him – needless to say, Donner was shocked, flabbergasted, and
as hurt as a poodle under a car tyre – with a second-rater. Richard Lester was bought in to finish the film. His Superman II,
as it was released, was average to say the least. Brando was gone, but
so was the storyline. In many ways, it was incomprehensible – sure,
not Superman IV incomprehensible, but still a mess. Thanks to some insanely hard work from the restoration troops, Superman II
is available to view as it should’ve been from the get-go – Well, not
entirely as it would’ve been (because many of the special effects
sequences weren’t finished and some of the scenes were shot by Lester),
but good enough. Scratch that. Great…enough. Donner’s film is a
totally different film. It really is. From the storyline to the tone to
the performances to the pacing…. It just plays different, and works a
hell of a lot better than the condensed Superman II that we know. It also has some real heart, something sorely missing from the Lester version. Among
some of the changes – a more detailed introduction which explains how
Zod, Non and Ursula escaped the Phantom Zone, the original ending
(which involved Superman turning back time – something they ended up
using for the first film), a spectacular third-act battle between hero
and villains in the Metropolis streets, and, most importantly, the
reincorporation of Marlon Brando’s scenes as Superman’s pop, Jor-El.
* SPOILER WARNING * The
most wonderful ‘new’ moments are those between Superman/Clark and Lois
Lane, though. At the start of the film, Lois realises that Clark is
indeed Superman, so she proceeds to try everything she can – like
jumping out a window, and ultimately shooting him in his indestructible
chest – to get him to expose himself to her. There’s a joyous little
sequence (which is actually the screen test because the sequence was
never filmed for the movie) in which Clark eventually does come clean
with Lois, and as a consequence, they admit their true feelings for one
another. This ultimately leads Clark – with Lois in tow – to the
Fortress of Solitude, where he proceeds to talk Jor-El (Brando in
another of his restored scenes) into letting him become ‘human’. The
finale – incorporating the ‘turn back the time’ element – is also quite
touching. Knowing they can’t be together, a weepy Lois agrees to let
Superman turn back the clock so that the next day, everything will be
back to how it was…before she knew his secret identity. It’s actually
quite touching. Kidder is especially excellent in the scenes (Donner
says in the commentary that the waterworks were real – she didn’t need
anything to help her cry).
* END SPOILER *
I
don’t want to say too much more about Donner’s film, it’s too good to
spoil. I’m inclined to say that if it had been completely finished –
and it’s not far from it – it would’ve been just as good a film as the
original. This is one of the most joyous DVD releases of the year. Superman II will never be the same again – and for once, that’s a good thing. EXTRAS Director Richard Donner and creative consultant Tom Mankiewicz
provide an insightful and very honest – Donner is understandably and
obviously rather hurt still, by what happened way back when, and isn’t
afraid to let it rip. For instance, he refuses to name ‘Richard Lester’
by name but sours at watching one of “his” scenes – commentary for the
film, that’s worth listening to once you watch the film with its
soundtrack. Other extras include an introduction to the film by
Donner, a featurette about how the restored version came about, and an
option to view the ‘new’ scenes on their own. Conclusion:
Movie: 90% Extras: 70%
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