More than any other super hero in comic book history, Superman may be the one filled with the most contradictions and paradoxes. He is an alien that grew up as a human; he is also a common citizen and a godly superhero. He has two fathers and two mothers, but has never met his biological parents. He grew up on earth but strives for his homeland. The idea of the double identity not only dominates the narrative thrust of Zack Snyder's "Man of Steel," but also illuminates the movie's form.
As the film commences, the viewer is taken to Krypton where the birth of Kal-El (later known as Clark Kent and Superman) is taking place. His father Jor-El (Russell Crowe) sends him to earth to avoid the destruction of his home planet. The opening prologue also introduces the viewer to the film's principal antagonist Zod (Michael Shannon). The general hopes to utilize a special code to recreate the Kryptonian species. Unfortunately his military coup goes awry and the code is stored away in the shuttle with Kal-El.
The film proper then begins with a grown-up Clark Kent (Henry Cavill) embarking on a journey to find his place in the world. This part of the film utilizes flashbacks at will to portray the difficult childhood this alien has endured and his relationships with his adoptive parents Jonathan (Kevin Costner) and Martha Kent (Diane Lane). Clark eventually finds out who he really is and embraces his true identity as a superior being. Along the way, he meets Lois Lane (Amy Adams) and the two develop a subtle romantic relationship. Eventually, Zod returns to the picture after being freed from his prison by the destruction of Krypton and threatens to destroy earth if it fails to hand over Kent within 24 hours.
The film strives to portray the identity crisis that the youngster endures. At one point, the child Clark finds himself mortified by his ability to see X-ray projections of the people around him. He has a desire to help others with his super powers but his adoptive father constantly tells him that revealing his own powers could lead to rejection from the human race. Once Kent comes to terms and embraces his true identity he is faced with the ultimate dilemma: should he defend his adoptive race or fight alongside the Kryptonians to restore the race? This second question comes to form the basis of the film's second half and its response comes in a bone-chilling climax where Superman's ultimate decision is a tragic one.
The duality and search for identity not only dominates Kent, but the film itself. Save for the opening prologue which is rife with visual effects and composite shots, the film's first half is an embodiment of an intimate character portrait. The roaming camera, murky palette, and real locations suggest the world of the independent film. The action sequences are sparse and the visual effects and CGI are rare. The pacing also has a relaxed, almost contemplative feel with a plethora of meditative close-ups of natural settings and creatures. Once Superman comes to terms with his alien self, the film's tone and style shift to the realm of the Hollywood blockbuster. The CGI shots are in abundance and the narrative gives way to lengthy action sequences. The color palette takes on a more vibrant hue with the locations and stunts clearly pulled off in studio settings. The film even nods toward the inferior "Transformers" franchise by utilizing product placement in certain scenes. Superman and Zod burst through a Seven Eleven Store at the start of an action sequence; the conclusion of that same battle takes place in front of a destroyed Sears department store. The cinematography even utilizes the erratic zoom technique during long takes that has become a trademark of the modern Hollywood war film. There is even a romantic kiss to punctuate the fact that film has entered the realm of the Hollywood clichés. It almost seems as if Snyder starts the film looking to take the genre in a new direction but ultimately opts to leave it right where it is.
Snyder's direction also showcases paradox. He is delicate and methodic with the pacing and storytelling early on in the film but reverts to his usual indulgent self when the action takes over; oddly enough, even in the action he shows two sides to his directing style. He has been battered by critics for his tireless use of slow-motion during major action sequences that seem to drain the energy from the imagery in previous films. One only needs to watch every single action sequence in "300" or "Watchmen" to know how detrimental this technique could be to the pacing of Snyder's films. In "Man of Steel" he shows restraint by completely ignoring this technique; the result is a more thrilling viewing experience. However, he still seems to have been unable to contain his desire for long action sequences. The final 45 minutes of "Man of Steel" are relentlessly paced and include ever increasing stakes. However, the action sequences constantly follow one after another with barely any respite. Zod fights Superman and is eventually defeated. The general then gets carried off by his henchmen but leaves behind Faora and another undisclosed Kryptonian to take down Superman. After this battle comes to an end, Zod unleashes his master plan almost instantly, initiating two action sequences simultaneously. Once these conflicts are resolved, another final battle must ensue. Most of the battles are well-paced on their own, but in the context of the film they become exhaustive and draining. One audience member even muttered "another one?" when the final battle started.
Unlike other Snyder films, such as "Watchmen," where the performances were unbearably bad, "Man of Steel" features a strong cast that carries the film beautifully. Cavill's serious visage suggests his insecurity and loneliness, but his voice is reassuring and calm. Adams makes Lois Lane an assertive woman that is the perfect match for Superman while Michael Shannon is virility personified as Zod. Fortunately, this villain is not of the prototypical world ruler variety and actually has a moral purpose that adds to Clark's conflict. Crowe may give the most commanding performance of the film as Jor-El. He actually appears in almost a quarter of the film and creates an authoritative aura. He also adds a few light touches during an escape sequence. Costner and Lane imbue the film with deeply felt moments despite limited screen time. Hans Zimmer's propulsive score pervades the entire film and creates a sense of relentlessness and striving.
It is essential to note that the film was originally filmed without 3D technology and was later converted. The results show as the 3D is completely unnoticeable and by extension pointless. Unlike in "Avatar" or even "The Great Gatsby," there is not a single moment where the 3D technology stands out and makes the viewer beg for more.
"Man of Steel" represents a new period in Snyder's evolution as a filmmaker. Whereas his other films are personified by overindulgence in violence or sexual fantasies, his latest effort delves deep into the conflict between an alien and his place in the two worlds he represents; it also showcases Snyder experimenting with new styles while integrating and even eliminating some of his cinematic trademarks. The pacing near the end of the film could be a bit tiring, but its strong characters, performances and serious attempts to deepen Superman's mythos and Snyder's filmmaking makes "Man of Steel" one of the best movies of the summer.
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