Lessons James Gunn’s Superman Could Learn From Man Of Steel

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Summary

  • James Gunn’s Superman promises a fresh take, garnering positive anticipation.
  • Lessons from ‘Man of Steel’: emphasize VFX, costume design, and visual spectacle.
  • Gunn’s Superman should aim for scale, gravitas, and originality in the score to captivate audiences.

James Gunn’s upcoming Superman version appears set to deviate significantly from previous live-action portrayals of the iconic character, as suggested by the positive response to the December 19 teaser trailer. In contrast to the mixed reactions to Man of Steel, audience enthusiasm for this new Superman film is apparent, with the teaser becoming the most watched for both DC and Warner Bros, even before its official release.

Despite the criticism faced by Henry Cavill and director Zack Snyder’s interpretation of Superman, it offers valuable insights for Gunn and his team. The visual aspects of ‘Man of Steel’, including VFX, costuming, set design, action choreography, and score, were spot-on. If coupled with a compelling narrative and character development similar to Gunn’s, these elements could rekindle interest in Superman like never before.

Costume Design

Michael Wilkson’s modernized and athletic design for Henry Cavill’s Superman costume in Man of Steel was a welcome change from the straightforward look of 2005’s Superman Returns and its earlier adaptations. The detailed embroidery, rough chainmail texture, and flowing lines on Cavill’s suit give an alien-like feel. It appears to be heavily influenced by Krypton’s aesthetic, and it certainly lived up to the majesty one would expect from the most powerful being in existence.

People who admired the costume design award nominee’s final look might be taken aback by David Corenswet’s suit, as it has noticeable wrinkles and a vibe reminiscent of cosplay, despite boasting a more vibrant color scheme and perhaps even a superior cape compared to his 2013 counterpart. The iconic pants serve as a delightful nod to the past. Additionally, the questionable collar and S-logo have sparked some dissatisfaction among fans.

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In simpler terms, not just Superman’s suit seems lackluster; the costumes of the entire team of supporting superheroes appear homemade and unsophisticated compared to the impressive Kryptonian armor in “Man of Steel.” Most of the costumes, except for Mister Terrific and Metamorpho, seem like they were made at home. This style worked well in “Guardians of the Galaxy” and “The Suicide Squad,” but it feels out of place for characters like Guy Gardner or Hawk Girl.

Now that we’ve reached the point where no changes can be made to the design – more accurately, the costume – it’s all about hoping for the best in the final product. However, future Superman adaptations would benefit significantly from utilizing the costume and makeup skills demonstrated by the team behind Man of Steel. In fact, just as James Gunn sought guidance from Zack Snyder when planning David Corenswet’s look, it would be wise for them to do the same.

Visual Effects

The level of detail in the visual effects (VFX) of Man of Steel‘s scenes remains impressive even after a decade, with many modern big-budget superhero films falling short in this area. The special effects team was so convincing that many viewers thought the Kryptonian armor worn by Zod and his crew was real, not CGI. In contrast, Andy Muschietti’s The Flash, released a decade later, struggled to achieve the same level of perfection. The depiction of Krypton in Man of Steel is a sight to behold and may never be matched by what Gunn creates. Similarly, the shots of Superman’s eye lasers escaping from his eyes are still unmatched in their intensity.

From the brief teaser trailer, it’s tough to draw many conclusions about Gunn’s Kryptonian design. The only hint we have is a glimpse of Kelex, the robot, at the Fortress of Solitude. However, given Gunn’s prowess in visual effects and world-building, demonstrated spectacularly through various planets and civilizations in the Guardians of the Galaxy movies, it’s safe to expect an impressive Kryptonian aesthetic.

Cinematography

Gunn’s Superman has a lively color scheme and sharp appearance that captures the classic charm of comic books, but it is noticeably different from Man of Steel, which had a muted color tone. However, while there may be a change in mood, many people might not consider Gunn’s version as superior to the 2013 film when it comes to creating an immersive and epic feeling for a Superman movie.

In discussions about Zack Snyder’s filmmaking style, there are frequent critiques that he focuses more on creating impressive visual effects rather than deep storytelling, similar to Ridley Scott. However, it is undeniable that his work leaves a lasting visual impact. This is evident in the movie Man of Steel, where Snyder applies his skills from films like 300 and Watchmen to various aspects, such as religious symbolism and flight scenes. The camera movements were shaky, mirroring the real-world challenge of keeping up with Kal El, while close-ups accentuated the intensity of his conflicts. Adding VFX elements like sonic booms, swirling clouds, and large-scale fight sequences, it all aligns perfectly with the famous phrase: “It’s a bird. It’s a plane. It’s Superman!

Despite Amir Mokri’s significant contributions, it is Zack Snyder who should be given the most recognition. This is because Snyder consistently maintained a distinctive visual style across both ‘Batman v Superman: Dawn of Justice’ and ‘Zack Snyder’s Justice League’, even though different cinematographers were involved in each project. The visual quality and tone remained remarkably consistent as a result.

As a dedicated admirer, I believe it’s not necessary for Gunn’s Superman to physically resemble the Man of Steel, but the production should aim for the same grandeur, solemnity, and cinematic impact. Cinematographer Henry Braham, renowned for his work on The Flash and the Guardians of the Galaxy sequels, has already sparked skepticism among fans regarding the film’s ability to deliver the visual and aesthetic depth fitting for the Blue Boy Scout. Despite his impressive contributions to 2016’s The Legend of Tarzan, there remains a question mark about whether this movie will meet our high expectations.

A Threatening Villain

After a span of ten years and the release of fourteen films, it’s hard to find a more captivating villain within the DCEU than Michael Shannon’s portrayal of Zod. His intricate moral dilemmas and ability to challenge Superman’s beliefs in the moment made the stakes feel more intense than any other Superman movie.

It’s promising to see a grim image of Superman injured and covered in snow at the start of the trailer, hinting that Director Gunn intends to deliver on his word about portraying Lex Luthor, played by Nicholas Hoult, as the scariest enemy Superman has ever faced on screen. This villain is expected to instill fear not just in Superman, but also in the viewers.

An Original Score

The power and appeal of a movie extend beyond its narrative or visual elements; it also lies in its auditory experience, more specifically, the music that accompanies it. Films like “Inception,” “Interstellar,” the “Pirates of the Caribbean” series, and even the original “Superman” film continue to captivate audiences due to this factor. The makers of “Man of Steel” recognized this, which is why they brought in Hans Zimmer to compose the soundtrack. True to form, Zimmer delivered a contemporary theme that stood strong against John Williams’ iconic 1978 score.

Gunn aims to rekindle the elation that Superman brought about as a symbol of hope and honesty, as portrayed in Richard Donner’s initial movie. A hint at his aspirations can be found in the powerful, John Williams-inspired soundtrack for the trailer. However, while paying tribute to Donner is acceptable, the potential pitfall lies in trying to exceed or surpass Donner’s work, which could potentially undermine the film.

In a different way of saying it: Gunn might take a contrasting view, asserting that the music score by John Murphy will predominantly be unique, yet subtly echoing Williams’. However, the Superman logo from 1978 on the film’s poster, the traditional swim trunks worn by David Corenswet, and remnants of the score may lead many viewers to make comparisons.

As we’ve seen time and again in Hollywood, appealing to nostalgia can be a tricky game. It pulls in more audiences, but falling short of matching the original could prove lethal. Therefore, it seems wiser for Gunn to opt for an entirely fresh score, one that stands alone and has no ties to any previous compositions, rather than trying to replicate a work that is hard to surpass.

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2025-01-06 00:04