Tag Archives: Margot Kidder

Superman (1978, Richard Donner), the extended cut

The extended version of Superman runs three hours and eight minutes, approximately forty-five minutes longer than the theatrical version (Richard Donner’s director’s cut only runs eight minutes longer than the theatrical). The extended version opens with a disclaimer: the producers prepared this version of the film for television broadcasts (three hours plus means two nights). The director was not involved.

Neither, one must assume, was original editor Stuart Baird because I’m not sure anyone could stand to see their work so butchered. Superman’s already had one somewhat inglorious revision–the director’s cut–and this extended version takes it one step further. Scenes will now drag on and on as actors try one more line. The subtly of the cuts, which enhance the performances, is either gone or severely hampered. The John Williams music is rearranged to fit the lengthened scenes and sequences, with no attention paid to how the music fits the scenes.

Worse, padding the film out changes the emphases. Margot Kidder is far less relevant (Christopher Reeve’s Superman as well) because most of the added footage is Gene Hackman and company. In addition to introducing Lex Luthor (Hackman) as a piano-playing crooner, the extended edition has all sorts of physical humor and lame jokes for Hackman’s sidekicks, Ned Beatty and Valerie Perrine. Perrine gets a little more character–in fact, she’s the only actor who benefits from the extended material–while Beatty gets a lot less. The constant jokes make his presence drag, especially since he and Hackman aren’t funny with the physical humor.

The extended edition does explain a few things, like why Larry Hagman isn’t with the missile on Hackman and company’s second attempt at it. And Chief Tug Smith gets a whole subplot. In the other versions of Superman, he gets maybe a line or two in an interview with Kidder.

And there’s more at the beginning on Krypton. With everyone except Brando and Susannah York–though, wow, you forget how amazing they are together in their one scene. So good.

Actually, the extended version starts just fine. Terence Stamp’s microexpressions are preserved as well as Baird’s exquisite cuts between them. Then there’s a little more dialogue, here and there, with Brando and the other council members. The scene starts to drag and instead of the drag being corrected, it just gets worse. All the added lines are superfluous (as the two successful versions of the film attest).

Then the flying guard out to bust Brando for using too much power shows up. It’s a pointless addition–I assume it got cut because they couldn’t get the special effects to work or just decided it was a waste of time. But the producers want to waste some time with this cut. Well, executive producers. Original producer Pierre Spengler apparently didn’t have anything to do with bloating the film out. Ilya and Alexander Salkind, however, wanted to get it to those two nights for television.

Most of the added material–after the three major additions (Krypton, Hackman and company, Smith and the Native Americans)–is surplus dialogue. Lines no one would’ve kept. Including the actors. Besides Hackman seeming lost in the slapstick, Glenn Ford’s got a real awkward added line and can’t get any traction out of it. Though the extended scenes of the Daily Planet are interesting. They’re still too long.

After the surplus dialogue, the Salkinds threw in a lot of establishing shots. Lots of second unit. Lots of unfinished special effects–like during the way too long destruction of Krypton. Or special effects director Donner wisely cut just because they didn’t look any good even when finished. There’s some great helicopter footage of New York City though. Sorry, Metropolis. And, actually, Smallville too. It just doesn’t do anything.

Except add time. As scenes play long, even unpadded scenes start to drag–the mono soundtrack with the rearranged score doesn’t help–and subplots stop developing. Kidder disappears for way too long. Reeve gets some added material, which starts the character in a mildly new direction, but then there’s nothing else. The extended material is dead weight. Even when it’s good for character development, like with Perrine. And, to a lesser extent, Marc McClure.

Superman: The Movie: The Extended Cut is a swell curiosity, but nothing more. Maybe it really should be seen in two parts. Except, of course, it’s not like the Salkinds tried to do anything to make it feel like a two-part story either. Because their additive editing is disastrous and an ignoble diss to the film, its cast, and its crew. Not to mention the screenwriters, who clearly wrote some rather wordy, rather unnecessary lines.

However, if you’re a Fawlty Towers fan… Bruce Boa (from “Waldorf Salad”) does show up for a second and gets very angry. There’s also more John Ratzenberger, if you’re an avid Cliff fan.

Anyway. Editing is important. So is not purposely bloating out a film. The extra forty-five minutes are kryptonite to Superman.

2.5/4★★½

CREDITS

Directed by Richard Donner; screenplay by Mario Puzo, David Newman, Leslie Newman and Robert Benton, story by Puzo, from characters created by Jerry Siegel and Joe Shuster; creative consultant, Tom Mankiewicz; director of photography, Geoffrey Unsworth; edited by Stuart Baird and Michael Ellis; music by John Williams; production designer, John Barry; produced by Alexander Salkind and Pierre Spengler; released by Warner Bros.

Starring Marlon Brando (Jor-El), Gene Hackman (Lex Luthor), Christopher Reeve (Superman/Clark Kent), Ned Beatty (Otis), Jackie Cooper (Perry White), Glenn Ford (Pa Kent), Trevor Howard (First Elder), Margot Kidder (Lois Lane), Jack O’Halloran (Non), Valerie Perrine (Eve Teschmacher), Maria Schell (Vond-ah), Terence Stamp (General Zod), Phyllis Thaxter (Ma Kent), Susannah York (Lara), Jeff East (Young Clark Kent), Marc McClure (Jimmy Olsen), Sarah Douglas (Ursa) and Harry Andrews (Second Elder).


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Black Christmas (1974, Bob Clark)

Black Christmas has a lot of significant problems, but the film’s strengths make up for (or just distract from) a lot of them. But then there’s director Clark. He can’t make the film scary. He can make it disturbing–and often does, even when it’s not successful otherwise–but he never makes it scary. And when Olivia Hussey is running away from the psycho killer, it has to be scary. It’s the first scene with real action in the film and Clark doesn’t do it. In the process, he loses any of the disturbing too.

Even though the final act is a flop, the film does still look good. It’s not exquisitely directed anymore–Clark does a beautiful job introducing the film and its characters in the first act–but it’s always well-produced. Reginald H. Morris’s photography is always competent, even when he’s not doing anything special. His use of focus is particularly gorgeous and it really brings personality to the film in the first third.

Clark just can’t direct the scary part. And he never does, because neither he nor writer Roy Moore, have anything interesting in mind for Hussey. She’s initially just one part of an ensemble, but once she becomes the lead, there needs to be something to the character and there isn’t. Hussey’s not good, but she’s not bad and she does have a few strong moments. She just doesn’t have anything to work with. Her character has the film’s least thoughtful story arc–she’s pregnant with creepy boyfriend Keir Dullea’s baby and she doesn’t want to keep it. Why doesn’t she want to keep it? She doesn’t love him. And her “ambitions.” What ambitions? No idea, Clark and Morse don’t care. They care enough to immediately establish Margot Kidder’s backstory because Kidder does wonders with it. It’s like Clark doesn’t want to ask too much of Hussey.

If it’d been any of the other stalked sorority girls–Black Christmas has the psycho killer terrorizing a sorority just before Christmas because narratively pointless gimmick–the film would’ve been better. Hussey plays the script. She doesn’t bring any personality of her own. Everyone else acts. Hussey recites. And Clark’s mostly responsible. He shoots Hussey differently than the other actors. Lots of close-ups, lots of boring close-ups. Almost every other shot is interesting (until the action), but never the ones of Hussey. It’s frustrating.

Like I said, great supporting performance from Kidder. She’s hilarious, charming, sympathetic, profane, gentle. John Saxon is fine as the cop. Marian Waldman’s awesome as the drunk den mother. She has the same kind of sipping sherry stashed all over the house–it’s a fantastic subplot and far more imaginative than the psycho killer one. Andrea Martin is good as another sister. James Edmond is fantastic as one of the girl’s fathers. When Edmond’s still part of Christmas, it’s a special film in how it deals with grief and fear amid cheap horror gags. Art Hindle’s good too. Doug McGrath’s funny as a dumb police sergeant. There’s so much texture to the supporting cast, it just makes Hussey and Dullea stand out even more. I neglected to mention Dullea’s awful. There could be a drinking game for his lousy performance in this film. Anyone would’ve been better.

Or, even better, the character wouldn’t exist because there’s no place for him in the film. Clark and Moore’s problem is how they anticipate the narrative. The characters have nothing going on except what they’re doing at a moment–Black Christmas takes place over thirty hours or so–even when they’re in the middle of another subplot. The setup for the psycho killer is infinitely better than the psycho killer because there’s nothing to do with the psycho killer. Clark and Moore completely cop out.

Okay music from Carl Zittrer. Okay editing from Stan Cole. Sometimes excellent direction from Clark, sometimes not. Truly great performance from Margot Kidder. Black Christmas has a lot going for it, it just doesn’t really get anywhere.

1.5/4★½

CREDITS

Produced and directed by Bob Clark; written by Roy Moore; director of photography, Reginald H. Morris; edited by Stan Cole; music by Carl Zittrer; released by Ambassador Film Distributors.

Starring Olivia Hussey (Jess), Keir Dullea (Peter), Margot Kidder (Barb), John Saxon (Lt. Fuller), Marian Waldman (Mrs. Mac), Andrea Martin (Phyl), James Edmond (Mr. Harrison), Doug McGrath (Nash), Art Hindle (Chris) and Lynne Griffin (Clare).


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THIS POST IS PART OF THE O CANADA BLOGATHON HOSTED BY RUTH OF SILVER SCREENINGS AND KRISTINA OF SPEAKEASY.


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Nightshift (1985, Phillip Noyce)

The big problem with Nightshift, an episode of “The Hitchhiker,” is how William Darrid’s teleplay handles the protagonist. Margot Kidder plays a retirement home nurse who preys on her charges–little mean stuff, stealing their jewelry. The script isn’t playful with its presentation of Kidder. If Darrid had made her true nature a reveal instead of setting it up in the ground situation, for example.

It makes Kidder a weak protagonist, letting Stephen McHattie (as her scummy boyfriend) take over the episode when he’s in it. But he’s not in it very much, just a lengthy middle sequence. Then it goes back to Kidder, but she’s even more ineffectual now.

Director Noyce is trying to play with the constrained environment, but it doesn’t come off. There’s some good editing from Stan Cole.

Nightshift could have been a lot better, but Darrid didn’t give Kidder a believable enough character. It’s unfortunate.

1/3Not Recommended

CREDITS

Directed by Phillip Noyce; teleplay by William Darrid, based on a story by April Campbell Jones and Bruce Jones; “The Hitchhiker” created by Riff Markowitz, Lewis Chesler and Richard Rothstein; director of photography, Reginald H. Morris; edited by Stan Cole; music by Michel Rubini; production designer, Richard Wilcox; produced by Markowitz and Chesler; released by Home Box Office.

Starring Margot Kidder (Jane Reynolds), Stephen McHattie (Johnny), Dorothy Davies (Mrs. Cranshaw), Enid Saunders (Mrs. MacDonald), Kenneth Gordon (Mr. Loring) and Darren McGavin (The Old Man).


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Superman IV: The Quest for Peace (1987, Sidney J. Furie)

Roughly a third of Superman IV is missing, so it’s a little difficult to really form an opinion of the filmmakers’ intentions. I mean, it was an anti-nuclear proliferation movie… which suggests they were well-intentioned, but it’s impossible to know what they were trying to do with it as a film. For instance, it doesn’t have an ending. It also doesn’t have any real drama, but you can have an ending without any drama.

Some of the edits make me curious if anyone noticed, while it was being cut and recut and so on, if there’s the serious implication Lois Lane knows Clark Kent is Superman. There’s this weird scene at the beginning where we find out Superman takes Lois Lane out on flying dates then brainwashes her with the magic kiss (last seen in Superman II) whenever the date’s over. But the later scenes with Margot Kidder and Christopher Reeve… it’s like they’re playing it like she knows. There’s a definite subtext. It’s nearly interesting.

The opening actually seems like the first real Superman sequel. It’s not awkward like II or gimmicky like III, as a tabloid tycoon swoops in to buy out the Daily Planet. It gives drama to the Clark Kent side of things and lots of opportunity for returning cast members Jackie Cooper and Marc McClure… then doesn’t do anything with them.

Furie’s actually got some good shots and the effects are–while terrible–occasionally ambitious.

And Hackman… even with terrible lines, he’s great.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Sidney J. Furie; screenplay by Lawrence Konner and Mark Rosenthal, based on a story by Christopher Reeve, Konner and Rosenthal and on characters created by Jerry Siegel and Joe Shuster; director of photography, Ernest Day; edited by John Shirley; music by Alexander Courage; production designer, John Graysmark; produced by Menahem Golan and Yoram Globus; released by Warner Bros.

Starring Christopher Reeve (Superman / Clark Kent), Gene Hackman (Lex Luthor), Margot Kidder (Lois Lane), Jackie Cooper (Perry White), Marc McClure (Jimmy Olsen), Jon Cryer (Lenny), Sam Wanamaker (David Warfield), Mark Pillow (Nuclear Man), Mariel Hemingway (Lacy Warfield), Damian McLawhorn (Jeremy), William Hootkins (Harry Howler), Jim Broadbent (Jean Pierre Dubois), Stanley Lebor (General Romoff), Don Fellows (Levon Hornsby) and Susannah York (Lara).


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THIS FILM IS ALSO DISCUSSED IN SUM UP | SUPERMAN.