"Man of Steel" has now been witnessed

Well, yup.  It's 3:10ish in the AM and I am home.  Just saw Man of Steel with Kevin and Juan.

spoilers below

On sharing the creative object you've been working on

When I was about 22 I started working on a novel.  I've mentioned it here from time to time with varying degrees of clarity about what I was up to, because even now, 16 years later, I still work on the thing, hoping to finish one day.

and I mourn the fact it will not have a cover by Robert Maguire

I mention the book for two reasons.

1.  I like to retain transparency, so I'll share that part of why I'm going on hiatus is to focus back on the book.  My personal life, work and a confluence of events have often kept me from spending my time just finishing the darn thing.  I like writing, and I like blogging, but as well as re-charging my batteries to talk pop-culture when I get back, I'd like to make time for this project.

2.  Wednesday evening pal JuanD was good enough to join me for dinner.  He'd read a good chunk of the book as it is to date.  I figure I've got at least 1/3rd to go.  He's still got some pages left to arrive at the point where I've written to, but he made a heroic effort.  He's read, I guess 2/5th's - 1/2 of where this is all headed.  And then, he was kind/ brave enough to sit across the table from me and tell me what he thought and ask questions.

He did some things I really appreciate.

On expectations for "Man of Steel"

Man of Steel has mid-tier and lower reviews from a lot of sources and the aggregate score on Rottentomatoes ain't great.  But I think it boils down to a few things:

1.  Unlike Batman, who has been redone so many ways since 1966 in the public eye, and the Marvel heroes who, let's be honest, nobody had heard of before the movies, everybody's got an opinion on who they think Superman is.  And if the movie doesn't match that, it's going to cause problems.  Rex Reed (who is IN Superman: The Movie for 2 seconds) seems to not get who this Superman is and can't get past that.  And  declares "Mr. Nolan already ruined Batman" with a straight face.   I'm not sure "this isn't what I was expecting!" is a legitimate complaint, and seems to miss the pop-culture conversation on superheroes that's been going on since the mid-80's and around superhero movies since 2000 in favor of nostalgia.

I LOVE the nostalgia.  But I also know Superman leaps forward every once in a while.  Its been almost 40 years since Christopher Reeve put on the cape.  You kind of need to expect things will be different this go-round.

2.  It's Zack Snyder.  We always knew that meant this wasn't going to be the Superman movie of my dreams the minute he was put behind the camera/ CGI supercomputer/ fast-slow-fast machine, but I've had a long, long time to get used to that idea.  Usually when I say "I hope this doesn't suck" walking into a movie, I'm kind of being snarky.  With Snyder, I've seen 3.5 of his movies and have sort of suffered through all of them except for Sucker Punch, which I watched the second half of on HBO, and it's ridiculously, relentlessly not good.  The idea that this isn't going to totally suck is hard for me to imagine in a lot of ways.

Snyder has his issues and isn't a strong storyteller.  I can be open to the idea that maybe this just doesn't work as a tightly run piece of clockwork.

Noir Watch: The Maltese Falcon (1941)

I have no idea when the last time was that I watched this movie.  Likely 7 or 8 years ago when I got the DVD and again right after we moved back to Austin.

It's weird I don't watch it over and over, because there's a perfectly good reason The Maltese Falcon carries the reputation its got.  Smart, ruthless, and lean down to the bone, and with every actor in the film turning in terrific performances, its a great ride.  It carries the tone and at least the echo of Dashiell Hammett's spitfire dialog, and definitely retains the labyrinthine plotting that even Hammett's short stories are known for.

actually, those two guns belong to Elisha Cook Jr., but whatever

Supermarathon: All-Star Superman

Thanks to what's looking to be a busy week, this is the last installment of the Supermarathon as I'm booked pretty solid until Thursday night.  I hope I did us proud.

All-Star Superman adapts the 12 issue series that ran unevenly for years back when DC was playing havoc with schedules and you never really knew when a comic was coming out.  The art and story were worth it, and both were savaged at the time of the series' start, with the usual complaints about Morrison's writing drawing confusion and fans of the Jim Lee or Kubert school of illustration baffled by the stylized work of Frank Quitely.

You can view the film at Netflix Streaming.

No sooner than the series ended than word leaked that this comic was truly something unique, and - in what I've since come to simply expect when it comes to Superman - be it this comic or early reactions to Man of Steel, its fascinating to see the audience react to the core of the character and ask "why isn't the character usually like this?" or "where did this come from?" to ideas that were 40-50 years old at the time of the comic's publication.

That said, it took Morrison's storytelling and the voice he imbued in Superman and Luthor to make the series shine.  And, I'd argue, it took the clear, concise, character-driven storytelling of Dwayne McDuffie to take the comic and turn it into a movie that works despite the strange, episodic nature of the narrative.

For those who haven't read the comic, I won't bore you with what was cut to make the movie.  The DC Animation team managed to keep most of the story in place to keep the relevant bits intact and maintain the core of the story, even if its heart-breaking to know what might have been.  They also managed to keep much of the look of the comic, something I thought impossible, even if the 16x9 dimensions occasionally lose the impact of Quitely's page design.

Last Days of Krypton

Well, we haven't quite closed up shop yet.

When I came back to blogging after about 6 months of non-blogging, this site struggled a bit to find its footing, but eventually it found its place in the firmament.  Whereas I believe League of Melbotis was a much more personal journal, at The Signal Watch we've tended to stick to pop-culture review a bit more than just enthusiastic boosterism, and even at that, we stuck to a few topics more solidly than we'd done in the prior incarnation.  Superman.  DC.  Noir film.  Mainstream sci-fi franchises.  You tell me.  I don't know why you humans keep showing up.

I've appreciated that I do feel comfortable posting personal items here as well.  I think the ability to share some of my life here in Austin helped to contextualize where I'm coming from, and - sometimes I find the elliptical manner some web writers feel compelled to discuss their personal lives a gap in the reading.

a spot of housekeeping - we're wrapping it up for a while here pretty soon

On Thursday evening at Midnight, and again on Saturday afternoon next week, I'm going to see Man of Steel.  For several months I've had it in mind that on the heels of the release of this movie, I'd go on an indefinite hiatus with this blog.

That's still the plan.  

Come next weekend, I'll do a post of two on thoughts about the movie, and maybe a quick adios and then we're out.  I think I'm keeping up with the social media aspect, but we'll see.

When we come back, I'm not exactly sure what form that'll take.  Same blog.  New blog.  I dunno.  It's going to be a while, so we'll worry about it then.

If you need anything covered between now and next weekend, speak now or forever hold your peace.

Signal Watches (and spoils) - Star Trek: Into Darkness (the title that made no sense)

Y'all know I love my Captain Kirk, Uhura and McCoy.  I have and wear a shirt with the image of Leonard Nimoy that reads "Spock is my homeboy".  My clock at work bears the image of the Enterprise.  I was ridiculed in 4th grade Reading class for wanting to be on Enterprise away teams when I grew up.  By the teacher.

I understand that one must reboot and refresh a franchise from time to time.  For goodness sake, I'm a Superman fan.  The trademarked character is more about how he's been interpreted in various incarnations than he is about any particular story.

I just don't think JJ Abrams is much of a writer or director.  And its possible Chris Pine isn't much of an actor.

SPOILERS BELOW

What is true is that by the time Star Trek: Enterprise aired, the Star Trek franchise had become so insular and inward looking that it was basically extended fan service.  I don't even know if the show was good or not, as I found myself just... not caring that it was on as I saw it jumping back through the hoops I'd found all-too-familiar after multi-year runs of ST: TNG, DS9 and Voyager (a show I wanted to like, but found everyone but Janeway kind of perplexingly flat.  At least she got to make command decisions and wrestle with saving her crew).

Film Noir on Fridays in June on TCM

Noir maestro Eddie Muller is guest hosting every Friday in June on Turner Classic Movies.  The line-up is pretty nuts, and I highly recommend looking at the list and setting your DVR.

Here's a website up at TCM.

Check out the schedule starting this evening!

Tonight:
The Maltese Falcon
City Streets
After the Thin Man
The Glass Key (a must see)
Satan Met a Lady

well, we've all wanted to punch Peter Lorre at some point

Supermarathon! Superman II - The Richard Donner Cut

For a long time a few things were known about the production of Superman II.  

1.  Originally the first film and the second were shot together and were more of a piece.  However, the movies were split up into two films and portions of the story from what became Superman II were used in Superman: The Movie.  

2.  Director Richard Donner was fired from Superman II and director Richard Lester was brought onboard. Lester reshot large parts of the movie to ensure his credit for the movie.  He had a different approach from Donner, and insisted on a wackier tone.  

3.  Gene Hackman basically didn't return for Superman II's reshoots, and Marlon Brando's portions were cut from the film.

While you likely didn't notice it much as a kid, and were able to give over a lot to superhero logic, Superman II may have the exciting supervillain fight, but it's tonally all over the place and the plot sometimes feels held together by bubble gum and tape.  

It's difficult to know exactly what Richard Donner originally intended and what he would have left in back in 1980 or so, as some scenes are deeply cut from the theatrical release, especially trimmed for hammy comedy which can sometimes feel a bit burdensome in the version that's more familiar.  But this version feels superior from a storytelling standpoint in so many ways that its hard not to want to see it as the "real" version, much as I consider the extended cut of Superman: The Movie as the official version and don't really bother with the original cut anymore.  

Firstly, you can tell everyone is still feeling all right in this movie, that the reshoots and time on the set hasn't taken its toll.  Reeve is buff, his hair in place and I don't think we get the pit stains.  Margot Kidder, especially, still seems on, is always well lit, her hair seemingly professionally done, etc...  And the cinematography seems better by leaps and bounds.  

While the "big city gal fads" of the theatrical release provide some color, watching Lois squeeze orange juice is kind of a half-gag, and it's not missed in this version.  

Also, the reveal of Clark Kent to Lois that he is Superman works terrifically better from a storytelling perspective than expecting that Superman would trip over a rug.  Despite the fact the footage used is from audition film, it feels terrifically stronger from a story telling standpoint.  I suspect that the scene would have only improved if Donner had managed to get it in front of the actual cameras.  

What really seals the deal is the continuation of the father/ son story between Jor-El and Superman, and what each continues to receive from the other as, even in death, Jor-El gives the last of what he is over to his son.  The cheesy appearance of Lara in the theatrical cut and the awkward transition from Superman to the white collared-shirted Clark doesn't occur and continuity feels much more intact.  

And the Phantom Zone villains feel genuinely more menacing under Donner's direction and oversight.  

In short, if you've never seen this cut, I highly recommend revisiting the movie through this version.