Superman v Superman: Singer v Snyder (features spoilers)

Having compared and contrasted Nolan's interpretation of Batman with Snyder's in my previous blog and concluded that Snyder's Batman is the more interesting character in the moral and ethical decisions he faces as well as more comic book-esque in his aesthetic, fighting style and physique, I have decided to write a second blog this time focusing on Superman. One comment that struck me in one of the reviews I read about Batman v Superman: Dawn of Justice was a comparison made between Snyder and X-Men director Bryan Singer, claiming Singer would have produced a better movie. One of the reasons this comment struck me as odd and why I disagreed with it is because Bryan Singer has already directed a Superman movie - Superman Returns - though the reviewer never mentioned this fact. Therefore, I am going to compare the two with my thoughts on both adaptations.

Singer's Superman Returns was released in 2006 and though it received positive reviews from film critics, it's global box office return was lackluster leading to WB rebooting the franchise in 2013 with Snyder's Man of Steel. The movie takes place after the events of Superman II and acts as a pseudo sequel imagining the events of Superman III & IV never happened. Singer's Superman is very much a throwback to the archetype created by Christopher Reeve. Played by Brandon Routh, Singer's Superman emulated Christopher Reeve in almost every respect. The movie's tone both in casting and musical score was designed to be nostalgic, especially as the plot acts as a sequel to the original two Superman movies.

Singer's Superman is once again shed in a messianic light as he sacrifices himself to save the world with very overt Christian symbolism. However, despite the Christian symbolism, Singer's Superman also breaks with traditional Christian morality, fathering a son to Lois Lane unbeknown to him. When Superman returns to earth (as the movie's title suggests) he finds Lois in a new relationship and with a young son. Believing at first that this child is the son of her fiance, played by James Marsden (Cyclops), Superman later finds out that the child is in fact his. Superman's sacrifice on behalf of humanity by destroying a giant kryptonite island created by Lex Luthor, acts as his redemption in Lois' eyes who had harbored resentment towards him as an absentee father and unreliable boyfriend leading her to write an article for the daily planet masking her personal resentment towards him in questioning whether the world needs Superman anymore as its hero.

Singer's Superman is deliberately nostalgic, not so much to the original source material and vision of Superman in the comics, but to the version created by Christopher Reeve in the late '70s and early '80s. It is this emphasis on nostalgia and trying to recreate the character in the spirit of Christopher Reeve's performance that I find uninteresting and uninspiring. Singer's Superman wasn't attempting to reimagine the comic book character or represent Singer's interpretation of the character so much as recreate the success of another director's vision for Superman. In paying so much homage to Christopher Reeve's portrayal, Singer was holding the original two Superman movies up as being definitive and therefore superior.

Snyder on the other hand, brought to Man of Steel his own interpretation of the character while remaining grounded in the original source material, as is his trademark. Synder's Superman was a Superman who had been taught growing up to conceal his super powers for fear of xenophobic reactions and public panic. Jonathan Kent, his father, believed the world wasn't ready to discover that it was not alone in the universe and that there were other intelligent species, especially ones with extraordinary powers such as those Kryptonians possess on earth. In deference to his father's concerns, Clark goes through life jumping from false-identity to false-identity as he searches for information about who he really is and who his people are.

Synder's Superman received a lot of criticism for allowing so much destruction of Metropolis in his battle against Zod. However, Synder's Superman was also inexperienced. Superman had no sooner learned the truth of his Kryptonian heritage than Zod invaded and attempted to terraform earth in order to rebuild Krypton. Zod was Krypton's military general with a lifetime of combat experience. Superman had only just assumed the cape and mantel of Superman and was forced to fight Zod to the death in order to protect humanity from being genocidally annihilated.

As well as creating a young, inexperienced Superman, Snyder's interpretation of Superman was influenced by his own philosophy of bringing comic book characters to life in movies. For Snyder, characters with such extraordinary power and abilities would inadvertently cause a lot of collateral damage. Snyder's philosophy comes through as he explores what the consequences would be to a duel between two super powered people. In essence, Snyder's Superman is an exploration of a type of realism: the realism of what would happen to the world if aliens with god like powers lived among us and when those aliens are forced to use those powers either for harm or the greater good.

This is where Snyder's Superman, in contradistinction to Singer's, meets the realism of Nolan's Batman with the fantasy of the comic books. Synder's Superman more closely mirrors that of his comic book antecedent. Henry Cavill embodies not Christopher Reeve's Superman, but the Superman sketched by the likes of Jim Lee. Cavill in his physique and look brings Superman straight out the comics onto the screen. The controversial ending to Man of Steel also has its justification and precedent in the comic books as Superman has on occasion killed for the greater good.

Snyder's vision for Superman continued through into Batman v Superman: Dawn of Justice portraying a Superman not yet fully in control of his powers when he becomes emotionally enraged, but a person both as Clark Kent and Superman who is fundamentally committed to doing good and helping the world. As Clark Kent, he pursues Batman believing it his moral duty and obligation as a journalist to expose Batman's vigilante justice. As Superman he continues to save innocent people such as girl trapped in a burning building, as well as victims of severe flooding. Superman's first priority is always to help others.

However, with the memory of the battle for Metropolis still fresh in people's minds and being framed for murdering a terrorist faction by Lex Luthor, the public are divided as to whether Superman is a force for good in the world or not, and even the U.S. Senate calls Superman to Washington in order to answer for his actions. Even in his battle against Batman, Superman is manipulated into fighting him against his will. Snyder's interpretation of Superman is at one and the same time true to the comic books and yet distinct in positing a Superman whose actions bring him intense scrutiny, make enemies and sometimes lead to effects outside of his control.

Overall, once more I find Snyder's Superman, just like his Batman, to be the more compelling and interesting interpretation and adaptation. Snyder's passion for the source material shines through in his characterization and aesthetic of Superman every bit as much (if not more) than his characterization of Batman. Cavill and Affleck make a great pairing on screen as their physical presence and uncanny resemblance to their comic book characters brings Superman and Batman to life like never before.