Yes, the whole direction of the scene (script-wise) was wrong from its basis. The question "Was dad proud, mom" shouldn't have been asked at all, imo.
That’s not what the scene is even about. He didn’t ask whether his dad would have been proud. I've seen it twice and I don’t think he said anything like that at all. Clark said something along the lines of “I wish dad could have seen it”. Meaning "I wish Dad was here", and "I wish Dad could have seen the purpose for me being here at last revealed".
To which she replied that his father DID see it. Visually conveyed, we're shown that his father saw his potential to be a hero.
Which subtley legitimizes his father’s sacrifice, and serves as a callback to it even without them discussing it.
1.MoS WAS supposed to be the movie about that. Per Goyer and Snyder themselves.
Which quotes are you referring to, exactly?
2.Yes, the military doesn't trust him, it was pretty clear. But what was set up by the film wasn't implying it was just going to be the military. Plus, I wanted to see the rest of the people reacting to him (and, dare I say, I could care less about the military angle). And I got none of that. I don't think that's subtlety at all.[/quote]
The rest of the world hasn’t really met Superman yet. By any reasonable standard, they'd have no clue what to make of him.
And rather than a bunch of random reaction shots saying that, a la Raimi's Spider-Man, The Avengers, and seemingly every other comic book movie ever made, I’d rather an entire film that deals with just that concept. What in the world do we make of this alien who came among us so suddenly, with such great powers?
That wasn't this film's purpose. This purpose was the creation of Superman.
Yes, yes, I already covered the "life goes on thing" and I'd agree with that in principle. Heck, it's very important. Again, I'm talking execution here. Humour was misplaced, imo. I didn't want people crying all the damn time after Zod time, I hope I'm not giving that impression.
I don’t understand why you think its misplaced, though. If it was in the same SCENE as the more sobering elements, yes, it would be. Adding some levity after a downer of a sequence or a serious sequence is Screenwriting and Storytelling 101.
It’s not really even supposed to be that funny. It’s really just one more moment to characterize Lombard, to remind us that he's part of the Planet before Perry assigns Clark to him and Lois upon his arrival.
So, we have: Lois kissing him, the military being lukewarm to willing to accept him and his mother thinknig he's a hero. If that's subtle and, moreover, enough for you, I'm glad. It completely misses the point, imo.
What point is it missing, exactly?
We have a lot more than “Lois kissing him”. We have Lois kissing him, comforting him in his grief, welcoming him to his new job in his new mission. We have the military at odds with him but a dialogue of sorts being established, and yes, his mother thinks he’s a hero. Is that so bad? Whereas, in say, BATMAN BEGINS, we have pretty much no idea how Gotham City, the cops, etc feel about Batman after the events of the finale.
What did Perry say or do with regard to Superman?
You didn’t see the sequence that pretty much revolved around “Can you imagine how people would react to something like this?”
Lois was willing to trust him for some reason (aka she's Lois and she likes Superman, you know, from the comics).
Or maybe because, you know, he went around saving lives, saved her life, did nothing at all to prove himself untrustworthy…
Come on now.
And Jonathan? Classic Goyer "tell, don't show.
Except that the film did show humanity initially fearing him, to the point where the military had him in cuffs, containment, and was preparing a tranq sedative. They showed the apprehension of humanity in no uncertain terms. They just did it through the lens of the military, as the only group that would really be equipped to oppose him. Because, I assume, we hadn't seen that angle before in a Superman film.
Because if the movie really wants to explore gray areas, his actions should be considered more ambiguous, even by his own mother (since they didn't show any normal people, nor did they need to, according to you
I don’t see how saving the world is that ambiguous a concept.
His specific actions in doing so WERE presented as ambiguous in the context of those specific actions (killing Zod).
Hey, gray areas, remember? Not everyone will see it that way. and I certainly didn't want to be told this via the military.
"Gray areas" doesn’t mean that ideas have to be mutually exclusive. Gray areas allow for multiple truths, and for someone to be a hero even if they did something considered wrong or immoral.
I don't care about Superman killing. It's the one good thing to come out of MoS, I've said it before.
And, on a completely personal note, I do not idolize cops and the army. At all. I work a day job, I live a normal life and I see rallies where normal people clash with cops all the time, especially all this time. If a "superheroic" figure came along, I'd be very dubious. And that's, more or less, what I wanted from MoS (and that's what was hinted by Goyer). Not the view of the army, who sometimes take lives in the name of duty, of a person who sometimes takes a life in the name of duty. Am I making any sense? I want the juxtaposition of normal people vs superhero, "low level" stuff (even if we have "high level" stakes).
So do I. It's a part of what makes Superman interesting. But I don’t need it in every film, or at every turn in Superman's story.
Just like I can wait for more on the Daily Planet, Metropolis itself, Lex Luthor, Jimmy Olsen, Kryptonite, etc, I can wait for that incredibly important concept to be tackled. It was introduced here. We saw the first point of contact between Superman and humanity via the military, since this movie was Superman dealing with the military and Kryptonians.
The last think I'd want was to see Clark feeling guilty. I would've liked him to be more skeptical and not so quick to accept the "protector of the Earth" mantle. Superman's supposed to be a beacon of hope and in this movie he's far from that. And I LIKE that, don't get me wrong. I just wish his mom didn't act like he was. Am I getting the contradiction through to you?
I don't think Superman necessarily HAS accepted the mantle of protector of the Earth. He may not even fully understand what that entails yet.
How you cannot see what happens regarding Superman as the birth of a beacon of hope, even if he's not the beacon of hope he eventually becomes, is beyond me.
There’s no contradiction there. There’s what you wanted to see, VS what’s actually in the movie. That’s a question of preference, not a question of screenwriting issues or inconsistencies.
Sure, but that grand fashion (I agree, btw) was more about the fact the he burned the bridges to Krypton than anything about what happened to Metropolis and Smallville (even the Smallville aftermath was a bit touched on via Martha's house getting rebuilt, I found that satisfying enough).
It’s pretty clear that it’s mostly to do with what he’s just done. It can be interpreted in a couple of ways though, that's the beauty of the sequence.
Sure, he found his place in the world as Clark Kent, reporter, but as Superman? That's where the movie fails, to me.
Superman isn’t fully formed. It would never be that simple for Superman to find his place in the world. Hell, Clark Kent isn’t fully formed. Pretty sure that’s the point of the franchise as it unfolds.
Emotions. Relationships. Lois and Clark. Jonathan and Clark. Jor-El and Clark. Zod and Superman. I'll give you Martha and Clark, but that was mostly the acting that saved the script.
As far as Jonathan and Clark, Jor-El and Clark, Zod and Superman...can you elaborate?
Lois and Clark don’t have a relationship yet, at least in terms of a romantic one.
They have a friendship and an attraction. The reasons for that are found throughout the film. They are very much earned in a story and character sense.
And I saw none of that in MoS. Glad you did. All I saw was Goyer desperately trying to keep his WB employment by giving them what gave them money in 2005, even if that money came long-term. I saw a formula that failed to work again.
Then I really don’t think you were looking. It’s pretty much inherent visually, let alone in the dialogue/expository elements.
They're required to by me. If you show me people running away from disaster in Mike Bay fashion, you sure as hell should show them coming to terms with the brave new post-Superman world.
Why?
As if Michael Bay invented people running from things...
I’m pretty sure that’s going to be the focus of the sequel. Which is as it should be. Why rush a massive concept like that into the end of a movie?
Way I see it, they only do the latter. Which is the film's fallacy, to me.
Then again, you weren’t paying that much attention. We can discuss specifics if you want.
I'd agree, if they cocepts they kept preaching about didn't take up a quarter of the screentime. Bruce mentioned he wanted to become a symbol on the plane as a direct continuation of Ra's' advice in prison. And it served (in 2 lines, no less) the story by having Bruce choosing a mask as the means to fight injustice.
In MoS, they keep saying the same thing over and over (hello "fear" in BB) and there's no real payoff.
What do they keep saying over and over?
"Hope"?
They say it like three times. And once it’s Superman repeating what Jor-El told him it means.
The payoff is quite clearly the creation of Superman and the evolution of Clark's mission on Earth.
Every time he nudges him to make a choice about the kind of man he'll be, he undoes it by "You have to keep this side of yourself a secret".
And, in retrospect, the only choice Clark would have to make would be whether he'd reveal himself or not (to which Pa clearly objected).
Not once was the "good or bad" part of this setup mentioned again ("good or bad" in this case implied "go with Kryptonians or save humans").
No he doesn’t.
Jonathan only tells Clark he has to keep this side of him a secret once. He then tells him that he will need to decide what to do with his powers, and choose whether to stand for humanity, or his own kind, once he discovers who he is.
Every time Clark decides to do something he is making a choice.
Pa didn't object to Clark revealing himself. He modifies his objection to explain to Clark that he objects to Clark revealing himself before he knows his purpose.
Gray area, to me, is when you do something you're sure of, or that it makes sense, even though it's morally (as in: morals set by society) questionable. Clark sure as hell knew what he was doing when he killed Zod. It's quite clear, however, why it's gray area. Not so with Pa's schizo advice.
Gray area has different meanings. It's a gray area.
Doing something that is questionable morally or logically is a gray area.
Pa’s advice follows the same pattern. He feels he’s doing the right thing, even though morally it may not be the best option.
That's why it's vintage poor storytelling. Kryptonian is who he is. He found his people, the next best thing after his biological parents.
Which has no bearing on who he has been all his life.
It would be nothing but forced, illogical, unbelieveable melodrama in context.
He may be Kryptonian, but his psychological and social associations are with Earth.
If Goyer's interview claims had any weight, then Zod would have been written in a way that would have made Clark think twice about saving Earth. THAT'S gray area.
Umm…I get where you're going with that, but...that's not Superman in any sense. Killing is one thing. Letting an entire race be eliminated at once if he can avoid it...no.
THAT would make the military and real people even more suspicious and uneasy on Clark (a la STAS with Darkseid controlling Superman, but without the shotcut of mind control, you know, actual adult compelling drama).
That also would be fairly hard to swallow on any real level.
Instead, we get the "Clark, I'm Zod, I regret killing your dad, but I'm all but a robot, so are all the Kryptonians, so go ahead and fight with us". Does Clark's choice make sense within that setup? Sure. Is it compelling? No, sir, not to me. It's a nice way for Clark to solve everything with his fists, but it's not subtle, or deep in the slightest. I do applaud Goyer for finding the best shortcut to apologize for SR's actual gray areas and certainly deeper storytelling (as much as I don't really like SR), though.
I don’t think Clark’s “choice” with regard to Krypton or Earth was ever meant to be compelling, which is why when he destroys the ship, it is played so quickly in the story.
It was never in doubt. He had already decided. He decides right away to protect Earth, his adopted home over an essentially dead race.
What logical reason would he have to do anything else?
The uncertainty over his heritage is where Clark’s conflict comes in, not choosing between the two. Clark obviously would have preferred, like Jor-El, for them to coexist.
Hm, and right before that you're asking why he should have been conflicted about his heritage. Another case of sloppy writing. Sure, let's honor the thing we don't give a s**t about.
I was saying “Why should he be conflicted over choosing Earth VS Krypton”?
It’s not that he doesn’t value his heritage. He clearly does, per the events of the film.
Which is just a natural progression of what he'd been doing so far.
Eh, it's a pretty drastic change from what he’d been doing, at least in terms of its visibility. He was hiding what he could do and his presence on Earth.
I'm unsure why you're splitting hairs on this point. Your argument was that it was a small thing.
Well, big whoop. It's a superhero movie where the superhero saves the world. Doesnt' excuse that there's no compelling drama (as promised) in the meantime.
I saw some compelling drama. It was just superhero drama. Because it’s a superhero movie.
I knew arguing with you would at some point come to that kind of comment. I'm sorry I wasn't proven wrong. I hope you can refrain from that in your next reply or replies. If not, let me know, so it can end sooner than later.
No, we're not going to play that game. You said this:
Basically, things happened without real reason. Because we know Superman wears a suit, we know Superman protects Earth, we know Superman kisses Lois. So Goyer went "A to B to C", instead of "C because of B, because of C". No internal world logic.
Implying that you did not see or know the reasons these things happened within the film. Or you would not have stated that there were none, correct?
There are reasons those things happened in the film. Legitimate story and character reasons.
If you do not know them, then I must assume, per your statement, that you either cannot figure them out or that you missed them in the film. So I stated as much.
If you can figure them out or did not miss them, what is the point in suggesting that they happen without reason in the first place?
No, that's what the movie actually said "Save people cos it's the right thing". I wanted to be shown reasons why he chooses Earth over Krypton, why he chooses to save people, secretly or publicly. You know, because the 1st aact of the movie promised me that.
Superman has never been about choosing Earth over Krypton. There's little logic to making that choice, from a storytelling or character standpoint. That seems like forced melodrama for the sake of forced melodrama to me.
To introduce a concept like that would have presented an illogical situation for Superman to buy into, and at that point, the “Superman” in him collapses.
That issue has never been his definining conflict. He has never made the “either/or” choice if he could help it.
Zod tried to make him do so, and he rejected him immediately. That's Superman.
No, I wanted someone to show me. Even a hint of chemistry would have done the job. Someone should tell Snyder that panting and grunting before or after a kiss is just a substitute of chemistry. Subtle, because Snyder is good at doing sexy, but a substitute nonetheless.
You realize these two were onscreen together prior to that sequence, right? There were several sequences with existing chemistry and a budding relationship/friendship.
But yeah, what MoS showed me was at best that these 2 could be trusting friends.
Which is pretty much exactly where they should be in their relationship at this point.
Except that they like each other. Which is a completely legitimate thing to portray.
I'll rephrase then: "It's used by pros, so deal with it".
You can have your opinion about what's best all day long.
But if you’re going to legitimately criticize screenwriting, or any art form, especially a professional's work in a professional industry, then you’ve got to have more than “It’s not my personal preference”.