Why the World Needs Superman – Indian Rupee Forecast

He remains the classic Man of Steel, swift as lightning and capable of clearing high structures with a single jump, sporting his undergarments over trousers as usual. However, this time around, there’s a significant change – for the first time in many years, Superman shows compassion, revealing a tender heart within him.

In James Gunn’s recent take on the classic DC comic book, it is not physical power or speed, but rather morality, compassion, and a quality often revered by Americans – kindness – that stands as the character’s most remarkable ability.

In the midst of a city-wide monster rampage, I find myself pausing amidst the chaos – not to save the world, but to help a tiny, frightened squirrel instead.

Instead of lingering in obscurity for the past twelve years, as Zack Snyder transformed Superman from Krypton into a somber, angst-ridden, nihilistic figure, it’s truly invigorating to witness a newfound cheerfulness in those well-known red boots.

Individuals who seem to have missed the movie, such as Dean Cain from Lois & Clark, are already criticizing it for being too “progressive” – a claim that’s as if Superman rebranded himself as Superperson and transformed the Fortress of Solitude into a shared living space. It’s the kind of mindless online criticism you might expect from a group of monkeys typing on keyboards – an apt metaphor, considering in this movie, Lex Luthor (portrayed by Nicholas Hoult as an enraged tech billionaire) uses such internet rants to manipulate public opinion against the beloved alien visitor (David Corenswet, the newcomer donning red and blue spandex).

To put it simply, this movie presents numerous storylines that are as current and relevant as today’s news headlines. In addition to Superman fighting monsters alongside the Justice Gang members – Green Lantern (Nathan Fillion), Mister Terrific (Edi Gathegi), Hawkgirl (Isabela Merced) – not forgetting Lois Lane (Rachel Brosnahan) and Krypto, a dog who is both adorable and mischievous, causing havoc in his Arctic sanctuary. However, this time around, Superman isn’t just battling monsters; he’s also dealing with misinformation, prejudice, and a Luthor reminiscent of Elon Musk’s ambition and Jeff Bezos’ distinctive hairstyle.

The movie doesn’t explicitly express political views, yet when Superman intervenes in a conflict between Boravia and Jarhanpur without seeking approval from Washington, one might question if these fictional nations are symbolic representations of Russia and Ukraine or Israel and Gaza. Indeed, it seems likely that the answer is yes to both, but Gunn skillfully maintains ambiguity to keep viewers speculating.

As a gamer, I can’t help but notice one topic that stands out more than others in this series – Superman’s immigration status. Given he just dropped from the sky without any papers, it’s hard to ignore. Luckily, there are no border patrol agents hot on his heels at Home Depot, but there are some folks who doubt his place among us. There’s even a chilling scene where authorities grab him and transport him to a “pocket universe” that seems almost as grim as an El Salvadorian supermax. And let’s not forget about Luthor, who seems to have learned his sneering tone from Stephen Miller when he calls Superman an “alien.

Is it considered the greatest Superman film ever produced? Perhaps not, given that some critics find it overly complex and disorganized. They argue that Gunn attempts to handle an excessively large cast of secondary characters, political parallels, monster battles, and a clone storyline for no apparent reason. However, many people agree that Corenswet delivers a convincing performance as Superman, making him feel just as natural in the role as Christopher Reeve did when he first donned the tights.

Despite not being the top-rated Superman film overall (you can review the list below for previous ones), it’s undeniably the best Superman movie suitable for today. This Superman embodies the ideal hero needed during these challenging times, reminding us what genuine, fairness, and American values should symbolize.

Superman (1978)

This isn’t just the greatest Superman film ever produced; it could be considered the finest superhero movie in history. The film excels in almost every aspect and continues to inspire a sense of wonder that a human can fly. A multitude of top-tier actors were offered the lead role, including Robert Redford, Paul Newman, Burt Reynolds, and James Caan, but it was an unknown soap opera actor named Christopher Reeve who proved to be the perfect choice for Kal-El’s iconic blue-and-red suit.

Reeve’s exceptional performance in the film was significantly boosted by a gripping, high-energy origin story penned by renowned author Mario Puzo and finessed by screenwriter Tom Mankiewicz. Director Richard Donner played a crucial role as well, introducing an unprecedented level of seriousness and epic grandeur to a genre that was mostly considered low-budget at the time. The movie’s substantial budget – a massive $55 million, making it the most expensive film in Hollywood history at the time – was also instrumental. It is worth noting that a considerable chunk of this budget, $3.7 million, went to Marlon Brando for his brief ten-minute appearance as Jor-El, which he filmed over just 12 days. Reportedly, Brando made life difficult for everyone on set by refusing to memorize lines and instead reading from cue cards, even one that was taped to baby Kal-El’s diaper.

Despite Marlon Brando’s lackluster performance, the movie was a historic box office sensation, earning $300 million (equivalent to about $1.25 billion today). It transformed Reeve into a cultural icon and paved the way for the contemporary superhero genre. Every Superman portrayal since then has been striving to match its legendary status.

Superman II (1980)

The initial intention was to produce Superman I and II simultaneously, and that’s largely what transpired. Gene Hackman, for example, filmed all his Lex Luthor scenes for both movies consecutively. However, before the sequel’s production could be fully wrapped up, director Richard Donner encountered creative disagreements with producers Alexander and Ilya Salkind and was subsequently replaced by Richard Lester, renowned for directing A Hard Day’s Night.

Nonetheless, the sequel — in which Reeve’s Superman renounces his powers to cohabit with Lois Lane, while three rogue Kryptonians emerge to conquer Earth — is almost as impressive as its predecessor.

What makes this film soar includes Terence Stamp’s electrifying performance as General Zod (“Kneel before Zod!”), but it also owes a debt to Lester’s lighter approach. He was responsible for the Niagara Falls sequence, where Superman saves a child from falling over the railing, eliciting a cry of “Of course he’s Jewish!” from an off-camera spectator among the cheering crowd.

Yet, Donner’s influence can still be discerned in the film, particularly evident in the intense Kryptonian battle in downtown Metropolis, which predates Man of Steel‘s urban chaos by 30 years, yet manages to do so with a greater amount of elegance and cinematic refinement.

Superman Returns (2006)

Between Reeve’s last Superman film, “The Quest for Peace” in 1987, which flopped at the box office, and the low-key but emotionally powerful reboot, there were numerous false starts. In the mid-90s, Kevin Smith, director of “Clerks” and a well-known comic book enthusiast, wrote several drafts for an unrealized “Superman Lives.” Later, Tim Burton was to direct a version featuring Nicolas Cage as Superman (and Chris Rock as Jimmy Olsen). Various directors such as J.J. Abrams, McG, and Brett Ratner were also linked to Superman films.

Eventually, Bryan Singer, director of the “X-Men” series, resurrected the character for the big screen. An unknown actor, Brandon Routh, who resembled Reeve, donned the red cape. Kevin Spacey shaved his head to play Lex Luthor, and the movie told a heartfelt story about lost love. Despite underperforming at the box office and receiving mixed reviews, it possessed the crucial element every Superman film needs: heart or soul.

Zack Snyder’s Justice League (2017)

Sure thing!

The movie, titled Zack Snyder’s Justice League, clocks in at four hours long and is steeped in operatic grandiosity. For the initial half of the film, Superman meets his demise (but later reappears, thanks to Batman, Wonder Woman, and The Flash, who dress him in a black suit). Despite its flaws, many consider this Snyder’s Superman series entry to be the most accurate (or least incorrect).

The film deviates slightly from the brooding atmosphere of Man of Steel and Batman v Superman, as Henry Cavill’s Kal-El displays a hint of a smile, even shedding his shirt in a callback to the Christopher Reeve era.

Unfortunately, the plot is confusing (it involves an alien warlord uniting three world-ending cubes), the CGI effects are jarringly poor, and the overall mood remains predominantly grim. Joss Whedon’s earlier version, which he took over following Snyder’s family tragedy in 2017, injects more wit and color but paradoxically becomes even harder to follow.

Superman and the Mole Men (1951)

This short film, lasting only 58 minutes and produced on a minimal budget, was initially designed as a test for a potential “Adventures of Superman” TV series. However, it has an endearing quality to it. Made during the height of the Red Scare, it resembles a straightforward but heartfelt allegory about fear, discrimination, and public hysteria. When two strange, large-headed creatures surface from deep within the Earth (due to oil drillers digging too deep), the townsfolk become frightened, arm themselves, and prepare for a lynching of the Mole Men. But George Reeves’ Superman steps in to save the day, criticizing the bigots and shielding the outsiders. “They’re not monsters,” he asserts. “They’re just different.”

Although it may be cheesy, and the Mole Men resemble babies wearing bald caps, it still retains a sense of purity, idealism, and simplicity. In its humble way, it adheres more closely to what Superman is supposed to represent than many subsequent adaptations, such as “Man of Steel.

Man of Steel (2013)

Zack Snyder’s initial take on Superman isn’t just off in terms of tone; it fundamentally misses the essence of the character. Rather than depicting Kal-El as the radiant, benevolent savior he’s always been – a sort of celestial angel descending from the skies to protect the innocent – Man of Steel delivers a brooding, joyless figure consumed by existential angst. Snyder appears to aim for what The Dark Knight achieved with Batman, but in removing all warmth, optimism, and moral integrity, he is left with a character who scarcely shows affection for humanity, let alone feels compelled to defend it.

Henry Cavill fits the bill aesthetically, yet he’s largely tasked with glaring and brooding, while the movie overwhelms him with gloomy flashbacks, fatherly admonishments, and Jesus-like symbolism that borders on satire. The narrative follows a reboot of the 1978 film – Kal-El lands in Kansas, grapples with his identity, and confronts a fellow Kryptonian, General Zod (played menacingly by Michael Shannon), who seeks to transform Earth into a new Krypton. The climax deteriorates into a city-destroying CGI battle that surpasses the collateral damage of three Michael Bay movies combined – and culminates with Superman doing something he’s never done before in any significant screen portrayal: breaking his adversary’s neck.

Indeed, it boasts a glossy production, is extravagant, and takes itself very seriously. However, it lacks one crucial element that a Superman movie should never be devoid of: hope.

Batman v Superman: Dawn of Justice (2016)

In this sequel to “Man of Steel,” it feels like I’m watching Superman through a lens of disdain rather than misunderstanding. Zack Snyder continues to immerse us in a dark, gritty world where Superman, portrayed by Henry Cavill, remains as brooding and disconnected as ever, while Ben Affleck’s Batman is a paranoid, brutal figure teetering on the edge of fascism. The storyline seems like a blend of mythology creation and scraps from Justice League, with Jesse Eisenberg’s Lex Luthor orchestrating events in ways that often leave me scratching my head. There’s also a revived monster called Doomsday, an unwelcome cameo for Wonder Woman, and another epic CGI battlefield scene set in a destroyed cityscape. Occasionally, the film hints at something grand and epic, but Snyder seems intent on shattering that illusion. Literally.

Superman III (1983)

Christopher Reeve remains enthusiastic about the role, but the narrative – a peculiar blend of slapstick and science fiction – feels like it originated from an entirely different series. Richard Pryor is mysteriously portrayed as a eccentric computer hacker, while the plot revolves around artificial kryptonite that transforms Superman into a tipsy, bearded lout, resulting in an unexpectedly amusing scrap among junkyard debris between the “evil” Superman and the “good” Clark Kent. The special effects are budget-conscious, the antagonist is questionable (Robert Vaughn as a corrupt aspiring coffee magnate), and there’s no trace of the charm from Reeve’s first two films.

Superman IV: The Quest for Peace (1987)

When Superman IV graced the movie screens, it appeared that the series had run out of fresh concepts, funds, and, as suggested by the final version, respect. Known as Christopher Reeve’s personal endeavor, Superman IV was driven by his desire to convey an anti-nuclear message. However, it is overshadowed by budget-conscious effects, recycled footage, and one of the most unintentionally amusing villains in comic book lore: Nuclear Man, a character with a mullet and powered by the sun, who seems to have strayed from a heavy metal album cover (portrayed by Mark Pillow, who made his only cinematic appearance in this film). The narrative revolves around Superman gathering all the nuclear weapons and flinging them into space, confronting his glowing adversary on the moon, and attempting to rescue both Lois Lane and the franchise. Unfortunately, he fails on every front.

2025-07-14 20:55