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Set:Superman
Character:Superman
Film:Superman
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Year Manufactured:1978
Material:Card Stock
Franchise:Superman
Original/Licensed Reprint:Original
Vintage:Yes
Type:Non-Sport Trading Card
Language:English
Manufacturer:Topps
Features:Individual Trading Card from Base Set
Featured Person/Artist:Christopher Reeve
Genre:Action,Adventure,Romance,Sci-Fi,Superhero
Country/Region of Manufacture:United States
Superman – Individual VINTAGE Trading Card from the 2nd Series Base Set issued by Topps in 1978. Superman (stylized as Superman: The Movie) is a 1978 superhero film directed by Richard Donner, supervised by Alexander and Ilya Salkind, produced by their partner Pierre Spengler, written by Mario Puzo, David Newman, Leslie Newman, and Robert Benton from a story by Puzo based on the DC Comics character of the same name. It is the first installment in the Superman film series. An international co-production between the United Kingdom, Switzerland, Panama and the United States, the film stars an ensemble cast featuring Marlon Brando, Gene Hackman, Christopher Reeve, Jeff East, Margot Kidder, Glenn Ford, Phyllis Thaxter, Jackie Cooper, Trevor Howard, Marc McClure, Terence Stamp, Valerie Perrine, Ned Beatty, Jack O’Halloran, Maria Schell, and Sarah Douglas. It depicts the origin of Superman (Reeve), including his infancy as Kal-El of Krypton, son of Jor-El (Brando) and his youthful years in the rural town of Smallville. Disguised as reporter Clark Kent, he adopts a mild-mannered disposition in Metropolis and develops a romance with Lois Lane (Kidder) whilst battling the villainous Lex Luthor (Hackman). Ilya had the idea of a Superman film in 1973 and after a difficult process with DC Comics, the Salkinds and Spengler bought the rights to the character the following year. Several directors, most notably Guy Hamilton, and screenwriters (Mario Puzo, David and Leslie Newman, and Robert Benton), were associated with the project before Richard Donner was hired to direct. Tom Mankiewicz was drafted in to rewrite the script and was given a “creative consultant” credit. It was decided to film both Superman and its sequel Superman II (1980) simultaneously, with principal photography beginning in March 1977 and ending in October 1978. Tensions arose between Donner and the producers, and a decision was made to stop filming the sequel, of which 75 percent had already been completed, and finish the first film. The most expensive film made up to that point, with a budget of $55 million, Superman was released in December 1978 to critical and financial success; its worldwide box office earnings of $300 million made it the second-highest-grossing release of the year. It received praise for Reeve’s performance and John Williams’ musical score, and was nominated for three Academy Awards, including Best Film Editing, Best Music (Original Score), and Best Sound, and received a Special Achievement Academy Award for Visual Effects. Groundbreaking in its use of special effects and science fiction/fantasy storytelling, the film’s legacy presaged the mainstream popularity of Hollywood’s superhero film franchises. In 2017, Superman was selected for preservation by the Library of Congress’s National Film Registry. Plot On the planet Krypton, Jor-El of the Kryptonian high council discovers that the planet will be destroyed when it drifts out of its orbit towards its red supergiant sun. The other council members dismiss his claims. To save Kal-El, his infant son, Jor-El sends him in a spaceship to Earth, where his dense molecular structure will give him superhuman strength and other powers. Krypton, thereafter, is destroyed. The ship lands near Smallville, Kansas. Kal-El, now three Earth years old, is found by Jonathan and Martha Kent, who are astonished when he lifts their truck. They decide to raise him as their own, naming him Clark after Martha’s maiden name. Jonathan tells the boy that he must have been sent to Earth for “a reason”. After Jonathan’s death from a heart attack, 18-year-old Clark hears a psychic “call” and discovers a glowing green crystal in the remains of his spacecraft. It compels him to travel to the Arctic where a Fortress of Solitude, resembling the architecture of Krypton, emerges from the ice. Inside, a hologram of Jor-El explains Clark’s true origins, and after twelve years of educating him on his reason for being sent to Earth and his powers, he leaves the Fortress wearing a blue and red suit with a red cape and the House of El family crest emblazoned on his chest. Becoming a reporter at the Daily Planet in Metropolis, Clark meets and develops a romantic attraction to coworker Lois Lane. Lois is involved in a helicopter mishap. Clark publicly uses his powers for the first time to save her, astonishing the crowd gathered below. He then thwarts a jewel thief attempting to scale the Solow Building, captures robbers fleeing police and depositing their getaway cabin cruiser on Wall Street, rescues a girl’s cat from a tree, and saves Air Force One after a lightning strike destroys an engine. The “caped wonder”, an instant celebrity, visits Lois at her penthouse apartment the next night and takes her for a flight, allowing her to interview him for an article in which she names him “Superman”. Meanwhile, criminal genius Lex Luthor learns of a joint U.S. Army and U.S. Navy nuclear missile test. He buys hundreds of acres of worthless desert land and reprograms one of the two missiles to detonate in the San Andreas Fault. Knowing Superman could stop his plan, Lex deduces that a recently discovered meteorite is from Krypton and is radioactive to Superman. After he and his accomplices Otis and Eve Teschmacher retrieve a piece of it, Luthor lures Superman to his underground lair and reveals his plan to cause everything west of the San Andreas Fault to sink into the Pacific Ocean, leaving Luthor’s desert land as the new West Coast of the United States. Luthor then exposes him to the meteor piece’s mineral, Kryptonite, which weakens Superman greatly as Luthor taunts him about the second missile, headed east towards the random target of Hackensack, New Jersey. Teschmacher is horrified that Luthor does not care that her mother lives in Hackensack. Luthor leaves Superman to die. Knowing he always keeps his word, Teschmacher helps Superman on the condition he will stop the eastbound missile first. After being freed, Superman diverts the eastbound missile into outer space, consequently preventing him from reaching the westbound missile before it explodes in the San Andreas Fault. Massive earthquakes erupt across California, damaging the Golden Gate Bridge and breaching the Hoover Dam. Superman mitigates the effects of the explosion by sealing the fault line. While Superman is busy saving others, Lois’s car falls into a crevice from one of the aftershocks, trapping her as it fills with dirt and debris. She suffocates before Superman can reach her. Angered over failing to save her, Superman defies Jor-El’s earlier warning not to manipulate human history, and instead heeds Jonathan’s advice that he must be there for “a reason”. He accelerates around Earth, traveling several minutes backward in time to prevent Lois’s death while also undoing the damage caused by the missile and earthquake. After saving the West Coast, Superman delivers Luthor and Otis to prison before flying into the sunrise for further adventures. Cast Marlon Brando as Jor-El: Superman’s biological father on Krypton. He has a theory about the planet exploding, yet the Council refuses to listen. He dies as the planet explodes but successfully sends his infant son to Earth as a means to help the child. Brando sued the Salkinds and Warner Bros. for $50 million because he felt cheated out of his share of the box office profits. This stopped Brando’s footage from being used in Richard Lester’s version of Superman II. Gene Hackman as Lex Luthor: A scientific genius and businessman who is Superman’s nemesis. It is he who discovers Superman’s weakness and hatches a plan that puts millions of people in danger. Christopher Reeve as Clark Kent / Superman: Born on Krypton as Kal-El and raised on Earth, he is a being of immense power, strength and invulnerability who, after realizing his destiny to serve mankind, uses his powers to protect and save others. As a means to protect his identity, he works in Metropolis at the Daily Planet as mild-mannered newspaper reporter Clark Kent and changes his clothes into a red-blue red caped suit with an S shield on its chest and is dubbed “Superman” by Lois. Reeve was picked from over 200 actors who auditioned for the role. Jeff East as the teenage Clark Kent: As a teenager, he is forced to hide his superhuman abilities, making him unpopular among his classmates and frustrating his efforts to gain the attention of classmate Lana Lang (Diane Sherry). Following the death of his adoptive father, he travels to the Arctic to discover his Kryptonian heritage. East’s dialogue in the film is redubbed by Christopher Reeve for the final cut. Ned Beatty as Otis: Lex Luthor’s bumbling henchman. Jackie Cooper as Perry White: Clark Kent’s hot-tempered boss at the Daily Planet. He assigns Lois to uncover the news of an unknown businessman purchasing a large amount of property in California. Keenan Wynn was originally cast, but dropped out shortly before filming because of heart disease. Cooper, who originally auditioned for Otis, was subsequently cast. Glenn Ford as Jonathan Kent: Clark Kent’s adoptive father in Smallville during his youth. He is a farmer who teaches Clark skills that will help him in the future. He later suffers a fatal heart attack that changes Clark’s outlook on his duty to others. Trevor Howard as the First Elder: Head of the Kryptonian Council, who does not believe Jor-El’s claim that Krypton is doomed. He warns Jor-El: “Any attempt by you to create a climate of fear and panic amongst the populace must be deemed by us an act of insurrection.” Margot Kidder as Lois Lane: A reporter at the Daily Planet, who becomes a romantic interest to Clark Kent. The producers and director had a very specific concept for Lois: liberated, hard-nosed, witty and attractive. Kidder was cast because her performance had a certain spark and vitality, and because of her strong interaction with Christopher Reeve. Over 100 actresses were considered for the role. Margot Kidder (suggested by Stalmaster), Anne Archer, Susan Blakely, Lesley Ann Warren, Deborah Raffin and Stockard Channing screen tested from March through May 1977. The final decision was between Channing and Kidder, with the latter winning the role. Jack O’Halloran as Non: Large and mute, the third of the Kryptonian villains who are sentenced to be isolated in the Phantom Zone. Valerie Perrine as Eve Teschmacher: Lex Luthor’s girlfriend and accomplice. Already cynical of his increasing grandiosity and disturbed by his cruelty, she saves Superman’s life after learning that Luthor has launched a nuclear missile toward her mother’s hometown of Hackensack, New Jersey. She shows a romantic interest in Superman, implied by her fixing her hair before she makes her presence known to him, and then by kissing him before she saves his life. Maria Schell as Vond-Ah: Like Jor-El, a top Kryptonian scientist; but she too is not swayed by Jor-El’s theories. Terence Stamp as General Zod: Evil leader of the three Kryptonian criminals who swears vengeance against Jor-El when he is sentenced to the Phantom Zone. His appearance was to set him and his accomplices as the main antagonists of Superman II. Phyllis Thaxter as Martha Kent (née Clark): Clark Kent’s faithful adoptive mother. A kindly woman who dotes on her adoptive son and is fiercely devoted to her husband, Jonathan. She is her son’s emotional support after Clark is devastated by Jonathan’s death. Thaxter was producer Ilya Salkind’s mother-in-law. Susannah York as Lara: Superman’s biological mother on Krypton. She, after learning of Krypton’s fate, has apprehensions about sending her infant son to a strange planet alone. Marc McClure as Jimmy Olsen: A teenage photographer at the Daily Planet. Jeff East, who portrayed the teenage Clark Kent, originally auditioned for this role but outranked following his portrayal of the teen Clark. Sarah Douglas as Ursa: General Zod’s second in command and consort, sentenced to the Phantom Zone for her unethical scientific experiments. Caroline Munro turned down the opportunity to play Ursa, in favour of Naomi in The Spy Who Loved Me. Harry Andrews as the Second Elder: Council member, who urges Jor-El to be reasonable about plans to save Krypton. Kirk Alyn and Noel Neill have cameo appearances as the parents of Lois Lane in a deleted scene that was restored in later home media releases. Alyn and Neill portrayed Superman and Lois Lane in the film serials Superman (1948) and Atom Man vs. Superman (1950), and were the first actors to portray the characters onscreen in a live-action format. Neill reprised her role in the 1950s Adventures of Superman TV series. Larry Hagman and Rex Reed also make cameos; Hagman plays an army major in charge of a convoy that is transporting one of the missiles, and Reed plays himself as he meets Lois and Clark outside the Daily Planet headquarters. Production Development Ilya Salkind had first conceived the idea for a Superman film in late 1973. In November 1974, after a long, difficult process with DC Comics, the Superman film rights were purchased by Ilya, his father Alexander Salkind, and their partner Pierre Spengler. DC wanted a list of actors that were to be considered for Superman, and approved the producer’s choices of Muhammad Ali, Al Pacino, James Caan, Steve McQueen, Clint Eastwood and Dustin Hoffman. The filmmakers felt it was best to film Superman and Superman II back-to-back, and to make a negative pickup deal with Warner Bros. William Goldman was approached to write the screenplay, while Leigh Brackett was considered. Ilya hired Alfred Bester, who began writing a film treatment. Alexander felt, however, that Bester was not famous enough, so he hired Mario Puzo to write the screenplay at a $600,000 salary. Francis Ford Coppola, William Friedkin, Richard Lester (who later directed Superman II and III), Peter Yates, John Guillermin, Ronald Neame and Sam Peckinpah were in negotiations to direct. Peckinpah dropped out when he produced a gun during a meeting with Ilya. George Lucas turned down the offer because of his commitment to Star Wars. Ilya wanted to hire Steven Spielberg to direct, but Alexander was skeptical, feeling it was best to “wait until [Spielberg’s] big fish opens.” Jaws was very successful, prompting the producers to offer Spielberg the position, but by then Spielberg had already committed to Close Encounters of the Third Kind. Guy Hamilton was hired as director, while Puzo delivered his 500-page script for Superman and Superman II in July 1975. Jax-Ur appeared as one of General Zod’s henchmen, with Clark Kent written as a television reporter. Dustin Hoffman, who was previously considered for Superman, turned down Lex Luthor. In early 1975, Brando signed on as Jor-El with a salary of $3.7 million and 11.75% of the box office gross profits, totaling $19 million. He horrified Salkind by proposing in their first meeting that Jor-El appear as a green suitcase or a bagel with Brando’s voice, but Donner used flattery to persuade the actor to portray Jor-El himself. Brando hoped to use some of his salary for a proposed 13-part Roots-style miniseries on Native Americans in the United States. Brando had it in his contract to complete all of his scenes in twelve days. He also refused to memorize his dialogue, so cue cards were compiled across the set. Fellow Oscar winner Hackman was cast as Lex Luthor days later. The filmmakers made it a priority to shoot all of Brando’s and Hackman’s footage “because they would be committed to other films immediately.” Though the Salkinds felt that Puzo had written a solid story for the two-part film, they deemed his scripts too long and so hired Robert Benton and David Newman for rewrite work. Benton became too busy directing The Late Show, so David’s wife Leslie was brought in to help her husband finish writing duties. George MacDonald Fraser was later hired to do some work on the script, but he says he did little. Their script was submitted in July 1976, and had a camp tone, including a cameo appearance by Telly Savalas as his Kojak character. The scripts for Superman and Superman II were now at over 400 pages combined. Pre-production started at Cinecittà Studios in Rome, with sets starting construction and flying tests being unsuccessfully experimented. “In Italy”, producer Ilya Salkind remembered, “we lost about $2 million [on flying tests].” Marlon Brando found out he could not film in Italy because of a warrant out for his arrest: a sexual-obscenity charge from Last Tango in Paris. Production moved to England in late 1976, but Hamilton could not join because he was a tax exile. Mark Robson was strongly considered and was in talks to direct, but after seeing The Omen, the producers hired Richard Donner. Donner had previously been planning Damien: Omen II when he was hired in January 1977 for $1 million to direct Superman and Superman II. Donner felt it was best to start from scratch. “They had prepared the picture for a year and not one bit was useful to me.” Donner was dissatisfied with the campy script and brought in Tom Mankiewicz to perform a rewrite. According to Mankiewicz, “not a word from the Puzo script was used.” “It was a well-written, but still a ridiculous script. It was 550 pages. I said, ‘You can’t shoot this screenplay because you’ll be shooting for five years'”, Donner continued. “That was literally a shooting script and they planned to shoot all 550 pages. You know, 110 pages is plenty for a script, so even for two features, that was way too much.” Mankiewicz conceived having each Kryptonian family wear a crest resembling a different letter, justifying the ‘S’ on Superman’s costume. The Writers Guild of America refused to credit Mankiewicz for his rewrites, so Donner gave him a creative consultant credit, much to the annoyance of the Guild. Casting of Superman It was initially decided to first sign an A-list actor for Superman before Richard Donner was hired as director. Robert Redford was offered a large sum, but felt he was too famous. Burt Reynolds also turned down the role, while Sylvester Stallone was interested, but nothing ever came of it. Paul Newman was offered his choice of roles as Superman, Lex Luthor or Jor-El for $4 million, turning down all three roles. When it was next decided to cast an unknown actor, casting director Lynn Stalmaster first suggested Christopher Reeve, but Donner and the producers felt he was too young and skinny. Over 200 unknown actors auditioned for Superman. Olympic champion Bruce Jenner auditioned for the title role. Patrick Wayne was cast, but dropped out when his father John Wayne was diagnosed with stomach cancer. Both Neil Diamond and Arnold Schwarzenegger lobbied hard for the role, but were ignored. James Caan, James Brolin, Lyle Waggoner, Christopher Walken, Nick Nolte, Jon Voight, and Perry King were approached. Kris Kristofferson and Charles Bronson were also considered for the title role. Warren Beatty was offered the role but turned it down. James Caan said he was offered the part but turned it down. “I just couldn’t wear that suit.” “We found guys with fabulous physique who couldn’t act or wonderful actors who did not look remotely like Superman”, creative consultant Tom Mankiewicz remembered. The search became so desperate that producer Ilya Salkind’s wife’s dentist was screen tested. Stalmaster convinced Donner and Ilya to have Reeve screen test in February 1977. Reeve stunned the director and producers, but he was told to wear a “muscle suit” to produce the desired muscular physique. Reeve refused, undertaking a strict physical exercise regime headed by David Prowse. Prowse had wanted to portray Superman, but was denied an audition by the filmmakers because he was not American. Prowse also auditioned for Non. Reeve went from 188 to 212 pounds during pre-production and filming. Reeve was paid a mere $250,000 for both Superman and Superman II, while his veteran co-stars received huge sums of money: $3.7 million for Brando and $2 million for Hackman for Superman I. However, Reeve felt, “‘Superman’ brought me many opportunities, rather than closing a door in my face.” Jeff East portrays teenage Clark Kent. East’s lines were overdubbed by Reeve during post-production. “I was not happy about it because the producers never told me what they had in mind”, East commented. “It was done without my permission but it turned out to be okay. Chris did a good job but it caused tension between us. We resolved our issues with each other years later.” East also tore several thigh muscles when performing the stunt of racing alongside the train. He applied 3 to 4 hours of prosthetic makeup daily to facially resemble Reeve. Filming Principal photography began on March 28, 1977 at Pinewood Studios for Krypton scenes, budgeted as the most expensive film ever made at that point. Since Superman was being shot simultaneously with Superman II, filming lasted nineteen months, until October 1978. Filming was originally scheduled to last between seven and eight months, but problems arose during production. John Barry served as production designer, while Stuart Craig and Norman Reynolds worked as art directors. Derek Meddings and Les Bowie were credited as visual effects supervisors. Stuart Freeborn was the make-up artist, while Barry, David Tomblin, John Glen, David Lane, Robert Lynn and an uncredited Peter Duffell and André de Toth directed second unit scenes. Vic Armstrong was hired as the stunt coordinator and Reeve’s stunt double; his wife Wendy Leech was Kidder’s double. Superman was also the final complete film by cinematographer Geoffrey Unsworth, who died during post-production while working on Tess for director Roman Polanski. The Fortress of Solitude was constructed at Shepperton Studios and at Pinewood’s 007 Stage. Upon viewing the footage of Krypton, Warner Bros. decided to distribute in not only North America, but also in foreign countries. Due to complications and problems during filming, Warner Bros. also supplied $20 million and acquired television rights. New York City doubled for Metropolis, while the New York Daily News Building served as the location for the offices of the Daily Planet. Brooklyn Heights was also used. Filming in New York lasted five weeks, during the time of the New York City blackout of 1977. Production moved to Alberta for scenes set in Smallville, with the cemetery scene filmed in the canyon of Beynon, Alberta, the high school football scenes at Barons, Alberta, and the Kent farm constructed at Blackie, Alberta. Brief filming also took place in Gallup, New Mexico; Lake Mead; and Grand Central Terminal. Director Donner had tensions with the Salkinds and Spengler concerning the escalating production budget and the shooting schedule. Creative consultant Tom Mankiewicz reflected, “Donner never got a budget or a schedule. He was constantly told he was way over schedule and budget. At one point he said, ‘Why don’t you just schedule the film for the next two days, and then I’ll be nine months over?’.” Richard Lester, who worked with the Salkinds on The Three Musketeers and The Four Musketeers, was then brought in as a temporary co-producer to mediate the relationship between Donner and the Salkinds, who by now were refusing to talk to each other. With his relationship with Spengler, Donner remarked, “At one time if I’d seen him, I would have killed him.” Lester was offered producing credit but refused, going uncredited for his work. Salkind felt that bringing a second director onto the set meant there would be someone ready in the event that Donner could not fulfill his directing duties. “Being there all the time meant he [Lester] could take over”, Salkind admitted. “[Donner] couldn’t make up his mind on stuff.” On Lester, Donner reflected, “He’d been suing the Salkinds for his money on Three and Four Musketeers, which he’d never gotten. He won a lot of his lawsuits, but each time he sued the Salkinds in one country, they’d move to another, from Costa Rica to Panama to Switzerland. When I was hired, Lester told me, ‘Don’t do it. Don’t work for them. I was told not to, but I did it. Now I’m telling you not to, but you’ll probably do it and end up telling the next guy.’ Lester came in as a ‘go-between’. I didn’t trust Lester, and I told him. He said, ‘Believe me, I’m only doing it because they’re paying me the money that they owe me from the lawsuit. I’ll never come onto your set unless you ask me; I’ll never go to your dailies. If I can help you in any way, call me.” It was decided to stop shooting Superman II and focus on finishing Superman. Donner had already completed 75% of the sequel. The filmmakers took a risk: if Superman was a box office bomb, they would not finish Superman II. The original climax for Superman II had General Zod, Ursa, and Non destroying the planet, with Superman time traveling to fix the damage. Donner commented, “I decided if Superman is a success, they’re going to do a sequel. If it ain’t a success, a cliffhanger ain’t gonna bring them to see Superman II.” Superman contains large-scale visual effects sequences. The Golden Gate Bridge scale model stood 70 feet long and 20 feet wide. Other miniatures included the Krypton Council Dome and the Hoover Dam. Slow motion was used to simulate the vast amount of water for the Hoover Dam destruction. The Fortress of Solitude was a combination of a full-scale set and matte paintings. The car crashes on the Golden Gate Bridge were a mixture of models and stunt drivers on a disused runway. Young Clark Kent’s long-distance football punt was executed with a wooden football loaded into an air blaster placed in the ground. The Superman costume was to be a much darker blue, but the use of blue screen made it transparent. As detailed in the Superman: The Movie DVD special effects documentary ‘The Magic Behind The Cape’, presented by optical effects supervisor Roy Field, in the end, three techniques were used to achieve the flying effects. For landings and take-offs, wire flying riggings were devised and used. On location, these were suspended from tower cranes, whereas in the studio elaborate rigs were suspended from the studio ceilings. Some of the wire-flying work was quite audacious—the penultimate shot where Superman flies out of the prison yard, for example. Although stuntmen were used, Reeve did much of the work himself, and was suspended as high as 50 feet in the air. Counterweights and pulleys were typically used to achieve flying movement, rather than electronic or motorized devices. The thin wires used to suspend Reeve were typically removed from the film in post-production using rotoscope techniques, although this wasn’t necessary in all shots (in certain lighting conditions or when Superman is very distant in the frame, the wires were more or less imperceptible). For stationary shots where Superman is seen flying toward or away from the camera, blue screen matte techniques were used. Reeve would be photographed suspended against a blue screen. While a special device made his cape flap to give the illusion of movement, the actor himself would remain stationary (save for banking his body). Instead, the camera would use a mixture of long zoom-ins and zoom-outs and dolly in/dolly outs to cause him to become larger or smaller in the frame. The blue background would then be photochemically removed and Reeve’s isolated image would be ‘inserted’ into a matted area of a background plate shot. The zoom-ins or zoom-outs would give the appearance of flying away or toward the contents of the background plate. The disparity in lighting and color between the matted image and the background plate, the occasional presence of black matte lines (where the matte area and the matted image—in this case, Superman—do not exactly match up), and the slightly unconvincing impression of movement achieved through the use of zoom lenses is characteristic of these shots. Where the shot is tracking with Superman as he flies (such as in the Superman and Lois Metropolis flying sequence), front projection was used. This involved photographing the actors suspended in front of a background image dimly projected from the front onto a special screen made by 3M that would reflect light back directly into a combined camera/projector. The result was a very clear and intense photographic reproduction of both the actors and the background plate, with far less image deterioration or lighting problems than occur with rear projection. A technique was developed that combined the front projection effect with specially designed zoom lenses. The illusion of movement was created by zooming in on Reeve while making the front projected image appear to recede. For scenes where Superman interacts with other people or objects while in flight, Reeve and actors were put in a variety of rigging equipment with careful lighting and photography. This also led to the creation of the Zoptic system. The highly reflective costumes worn by the Kryptonians are made of the same 3M material used for the front projection screens and were the result of an accident during Superman flying tests. “We noticed the material lit up on its own”, Donner explained. “We tore the material into tiny pieces and glued it on the costumes, designing a front projection effect for each camera. There was a little light on each camera, and it would project into a mirror, bounce out in front of the lens, hit the costume, [and] millions of little glass beads would light up and bring the image back into the camera.” Music Jerry Goldsmith, who scored Donner’s The Omen, was originally set to compose Superman. Portions of Jerry Goldsmith’s work from Planet of the Apes were used in Superman’s teaser trailer. He dropped out over scheduling conflicts, and John Williams was hired. Williams conducted the London Symphony Orchestra to record the soundtrack. The music was one of the last pieces to come into place. Williams’ “Theme from Superman (Main Title)” was released as a single, reaching #81 on the U.S. Billboard Hot 100 and #69 Cash Box. Williams liked that the film did not take itself too seriously and that it had a theatrical camp feel to it. Kidder was supposed to sing “Can You Read My Mind?”, the lyrics to which were written by Leslie Bricusse, but Donner disliked it and changed it to a composition accompanied by a voiceover. Maureen McGovern eventually recorded the single, “Can You Read My Mind?” in 1979, although the song did not appear on the film soundtrack. It became a mid-chart hit on the Billboard Hot 100 that year (#52), spending three weeks at number five on the U.S. Adult Contemporary chart, as well as making lesser appearances on the corresponding Canadian charts. It was also a very minor hit on the U.S. Country chart, reaching #93. Both Williams’ and McGovern’s singles contained theme music from the score. The score earned John Williams an Academy Award nomination, but he lost to Giorgio Moroder’s score for Midnight Express. La-La Land Records released the fully expanded restoration of Williams’ score as part of the film’s 40th anniversary in February 2019. Release Superman was originally scheduled to be released in June 1978, the 40th anniversary of Action Comics 1, which first introduced Superman, but the problems during filming pushed the film back by six months. Editor Stuart Baird reflected, “Filming was finished in October 1978 and it is a miracle we had the film released two months later. Big-budgeted films today tend to take six to eight months.” Donner, for his part, wished that he had “had another six months; I would have perfected a lot of things. But at some point, you’ve gotta turn the picture over.” Warner Bros. Pictures spent $6–7 million on marketing the film. Superman premiered at the Uptown Theater in Washington, D.C. on December 10, 1978, with director Richard Donner and several cast members in attendance. Three days later, on December 13, it had a European Royal Charity Premiere at the Empire, Leicester Square in London in the presence of Queen Elizabeth II and Prince Andrew.[citation needed] Reception Box office The film set a new all-time U.S. industry record for business during a pre-Christmas week with $12 million, and set new records for Warner Bros. for their best opening day ($2.8 million) and three-day weekend ($7.5 million). In the week of December 22–28, it set an all-time U.S. weekly record of $18.5 million. It also set a record single day gross for Warner Bros. with a gross of $3.8 million. In its third weekend it grossed $13.1 million for the four day holiday weekend setting a record 18 day gross of $43.7 million. It went on to gross $134.21 million in the United States and Canada, and $166 million internationally, totaling $300.21 million worldwide. Superman was the highest-grossing film of 1978 in North America, and became the sixth-highest-grossing film of all time after its theatrical run. It was also Warner Bros.’s most successful film at the time. Critical response According to Rotten Tomatoes, 94% of 69 critics gave Superman a positive review, with an average rating of 8.1/10. The website’s critical consensus reads, “Superman deftly blends humor and gravitas, taking advantage of the perfectly cast Reeve to craft a loving, nostalgic tribute to an American pop culture icon.” Metacritic assigned the film a weighted average score of 81 out of 100, based on 19 critics, indicating “universal acclaim”. The film was widely regarded as one of top 10 films of 1978. Superman creators Jerry Siegel and Joe Shuster gave a positive reaction. Shuster was “delighted to see Superman on the screen. I got chills. Chris Reeve has just the right touch of humor. He really is Superman.” Roger Ebert gave the film four out of four stars. Although describing the Krypton scenes as “ponderous” (“Brando was allegedly paid $3 million for his role, or, judging by his dialogue, $500,000 a cliché”), Ebert wrote that “Superman is a pure delight, a wondrous combination of all the old-fashioned things we never really get tired of: adventure and romance, heroes and villains, earthshaking special effects, and — you know what else? Wit”. He praised Reeve, stating that he “sells the role; wrong casting here would have sunk everything”, and concluded that the film “works so well because of its wit and its special effects”. Ebert placed the film on his ten best list of 1978. He would later go on to place it on his “Great Movies” list.
Frequently Asked Questions About SUPERMAN – Card #74 – Lovers from Other Worlds – Topps UK 2nd Series – 1978 in My Website
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