by Reg Geli

The origin is probably one of the most intriguing parts of a superhero’s story. In the recently released Man of Steel, director Zack Snyder retells the origin of a superhero whose life has been told and retold countless times in the past 70 years, yet manages to reimagine it to such a scale that any gratuitousness is nulled. Man of Steel is the story of the superhero that started it all: Superman.

This latest version chooses to give more meaning and significance to Clark Kent aka Kal-el’s beginnings. Instead of the usual streamlined narrative we’re used to, the film, instead, reveals Clark’s development through flashbacks that are peppered throughout more than half the film. It proves to be a fresh new take, given the robust amount of superhero movies in the past five or so years. It spares the audience from a potential drag, especially when considering virtually everyone is familiar with Superman’s origins. If the movie had gone the conventional way, then you’d have yourself a whole theatre foretelling the first half. If you’re not a fan of jump cuts though, then you have a lot to get used to.

The creators decided to give their own take on Clark’s costume as well. We’re all so used to seeing that iconic blue and red jumpsuit-cape combo, but in Man of Steel, not-so-subtle changes have been made. If you’ve watched it, then you probably noticed the absence of his bright red briefs. The colors are darker and edgier, giving him a more intense look, and there is the addition of metal arm cuffs and a more stylish belt. It doesn’t stop there; the creators have also given his costume more meaning. The suit is now some form of skin-tight Kryptonian uniform commonly worn under heavy pieces of armor, and the large ‘S’ symbol on his chest ceases to be an ‘S’ and becomes a Kryptonian symbol of hope. Personally, I prefer that they’ve made his cape part of some cultural heritage, rather than make it a tacky lack of judgement that could prove inconvenient rather than beneficial.

If you’re a fan of CGI, this movie is a must-watch. The visuals are stunning. This film is a good example of something that CGI benefits rather than impedes. Krypton is given more life and accessibility to the imagination. Spaceships are animated in impressive detail and even small things like space helmets add authenticity to otherwise fantastical elements.

Actually, anything to do with the eyes is superbly taken care of. The care they put into production is impossible not to appreciate. The smallest details in the Kyrptonian costumes are works of art. The feel of locations is usually spot-on; big cities are hustling and bustling and Smallville lives up to its name with its small-town country vibe.

 But this isn’t a tale that gets by purely on prettiness. The whole point of it was to establish Superman as both an alien and a human. He is not merely Clark Kent with the birth name Kal-el. He is Clark Kent and Kal-el. DC has always set itself as a comic industry of icons we can’t always relate to, but Zack Snyder has made sure the audience feels a closeness with Clark, not just on a romantic level or justice-seeking level, but on a fundamentally human one. Unfortunately, the character development itself leaves something to be desired. It can be described as flat, even. You don’t spend a lifetime of brooding and soul-searching just to become incredibly self-assured and authorative after bonding with holographic Russell Crowe. The transition just wasn’t believable.

Amy Adams as Lois Lane did a great job. Lois was able to become individual from past Lois Lanes and managed to make herself perfectly likeable, despite having the proverbial Damsel in Distress role. But alas, she could do nothing for the lack of chemistry given the script she had to work with. Just like Clark’s development, the romance development was flat and dull. In fact, the script did more for the cause of the villains than the superheroes’. Sure Zod was evil for wanting to kill all the humans in favour of Krypton, but can you blame him? He was genetically engineered that way. Not to say it was without perfectly likeable characters. Jor-el was basically a dead holographic dad through most of the movie, but Russell Crowe made him an awesome dead holographic dad. Lieutenant Faora barely has any speaking lines but you can feel the whole theatre cheering for her every time she takes someone down, despite being on the bad side. And there’s the Lumia phones. I think everyone loved the Lumia phones.

 All in all it’s not a perfect movie, but it’s not a bad way to spend 300 pesos. Man of Steel was able to successfully reboot for the contemporary age but didn’t fail to acknowledge the basics as well. It finds an audience in both the young and the old. Amidst the explosions, and graphics, and terra-forming weaponry, Man of Steel becomes a movie about fathers, all kinds of fathers, and the role they play in our lives, and the responsibility and sacrifices one takes with the onset of great power.