Superman II
Superman II, a superhero film based on the DC Comics character Superman, was directed by Richard Lester and written by Mario Puzo (The Godfather) and David and Leslie Newman. In comic continuity Superman first appeared in Action Comics #1 in June 1938 and has since become a cultural icon embodying hope and moral certainty, themes this sequel embraces as it deepens the saga of Kal-El’s exile and redemption. The film masterfully expands the cinematic universe, presenting a conflict not just of physical strength, but of ideology and personal sacrifice.
It was released as a sequel to Superman (1978) and stars Gene Hackman (Unforgiven), the definitive Christopher Reeve, the unforgettable Terence Stamp as General Zod, Ned Beatty (Network, Deliverance), Sarah Douglas, Margot Kidder, and Jack O'Halloran. The film premiered on December 4, 1980 in Australia and mainland Europe, with subsequent rollouts across North America and Asia through 1981. Several engagements presented the feature in Megasound, a high-impact surround sound system that presaged modern Dolby Atmos screenings by unleashing a seismic bass on audience seats, making every punch and explosion a visceral event.
In 1977, in a move of unprecedented ambition, producers Alexander and Ilya Salkind opted to shoot both Superman and its sequel concurrently, a strategy only previously attempted on epics like Ben-Hur. Production launched in March 1977 and wrapped in October 1978. Creative friction between director Richard Donner and the producers halted Superman II at seventy-five percent completion so Donner could finish the first film; following its December 1978 release, Donner was controversially replaced by Lester, who oversaw fresh sequences that would redefine the sequel.
Several cast and crew members, fiercely loyal to Donner, declined to return after his departure. To secure sole directorial credit under DGA rules, Lester was required to re-shoot significant portions of the film between September 1979 and March 1980, weaving new narrative threads that, while departing from Donner's original vision, resonated with classic comic storylines and fan expectations.
The Plot of Superman II
The story picks up moments after Superman heroically hurls a nuclear missile into space. The resulting shockwave shatters the Phantom Zone, a mirror-like dimensional prison first introduced in Adventure Comics #283 in April 1961. From this ethereal prison emerge three Kryptonian super-criminals: the imperious General Zod, the sadistic Ursa, and the brutish Non. Bathed in the radiation of Earth's yellow sun, they find themselves gifted with powers matching Superman’s, driven by an ideological zeal to enforce their absolute will upon the planet that imprisoned their leader. Their chillingly casual assault on lunar astronauts and subsequent takeover of a small American town underscores the trilogy’s exploration of power unchecked and the profound moral imperative that defines Superman’s heroic legacy.
Meanwhile, in one of the series' most charming subplots, Clark Kent escorts Lois Lane to Niagara Falls for a Daily Planet assignment. Convinced that Clark is more than he seems, Lois concocts increasingly reckless schemes to expose his secret identity. Their journey eventually leads them to the Arctic Fortress of Solitude, which becomes a crucible for Clark’s dual nature. He relinquishes his powers in a chamber saturated with synthetic red solar radiation, choosing a mortal life with Lois over his god-like destiny. This act of profound sacrifice echoes classic comic arcs where Kal-El surrenders everything for love, humanizing the icon and making his eventual return to duty all the more powerful.
Back on Earth, Zod's ultimatum—"Kneel before Zod!"—forces global leaders into submission. It is here that Lex Luthor, escaping prison using cunning tactics reminiscent of his prequel schemes, allies himself with the Kryptonians, offering them Superman in exchange for dominion over Australia. Luthor’s inevitable betrayal leads to a cataclysmic showdown in Metropolis and a final confrontation at the Fortress of Solitude. In a brilliant display of intellect over brawn, Superman uses the Red Sunlight chamber to depower the villains. He then, in a controversial but poignant final act, reverses time to mend the scars of battle and erases Lois’s memory of his identity with a kiss, reinforcing the tragic myth that truth must sometimes be hidden to protect those we love.
The tricky production issues of Superman II
The original Donner production:
Filming at Pinewood Studios began on March 28, 1977, with elaborate Krypton sets built on motion-controlled rigs. By May, escalating costs and schedule overruns sparked public disagreements between Donner and producers Alexander and Ilya Salkind along with line producer Pierre Spengler. Donner famously quipped that his budget existed only in lore, not ledger. In a conciliatory move, Richard Lester was brought on as a second unit director and associate producer to mediate and help steer the production through its most volatile sequences.
By October 1977, Gene Hackman, Ned Beatty, and Valerie Perrine had completed their scenes under a contractual obligation that covered both films. Yet the Salkinds paused Superman II production to ensure the first film launched successfully. During this hiatus, Warner Bros. secured foreign distribution and television rights via a negative pickup, pioneering a financing model that would become standard for major blockbusters.
The moves to replace Richard Donner
With roughly seventy-five percent of the sequel shot, Donner clashed with producers at a post-release celebration for Superman in December 1978, declaring he would not return if Pierre Spengler bore any oversight. This schism was deepened when Marlon Brando later sued for fifteen million dollars over profit participation, a move that prompted the producers to remove his vital Jor-El footage from the sequel, reshaping the film’s mythic framework. Proposed replacement Guy Hamilton was unavailable, leaving Lester to assume the director’s chair amidst a crew with divided loyalties. Gene Hackman, out of respect for Donner, refused most re-shoots, necessitating the use of stand-ins and voice doubles for Lex Luthor’s final scenes.
The production reshoots under Richard Lester
Following Donner’s exit, David and Leslie Newman rewrote sequences to accommodate the new direction. This included an opening thwarted terrorist attack at the Eiffel Tower that cleverly triggers the film's main plot, the romantic and revealing trip to Niagara Falls, and the climactic memory-wipe finale. After the tragic death of cinematographer Geoffrey Unsworth, Lester tapped Robert Paynter to deliver a palette of bold primaries evocative of Superman’s four-color comic heritage. Set designer John Barry’s untimely passing led to Peter Murton’s involvement. Christopher Reeve, initially committed to the film Somewhere in Time, returned after legal action and successfully negotiated for greater input on the script and stunt choreography, adding signature flourishes that cemented his iconic portrayal.
When cameras rolled again in September 1979, some of Donner’s original footage was reincorporated for efficiency and continuity. Diehard fans often note Margot Kidder’s fluctuating hairstyles and makeup as a tell-tale hallmark of the split production, a piece of trivia that endures in collector circles.
Despite a Directors Guild appeal over co-credit, Lester retained sole directorial billing. His re-envisioned scenes, including the Fortress battle and character-driven interludes, created a blockbuster sequel that, for many, surpassed the original and set a blueprint for the comic book movie era.
Critical Reception to Superman II
Renowned critic Roger Ebert awarded a perfect four stars for Superman II’s nuanced exploration of identity under duress; he insightfully observed that Superman’s bumbling Clark Kent disguise reflects the hidden, vulnerable self in everyone. Gene Siskel ranked it at three and a half stars, arguing the sequel sharpened the franchise’s moral core. Sheila Benson of the Los Angeles Times praised its witty repartee and ambitious world-building, calling it the most compelling Superman adventure thus far.
Janet Maslin of The New York Times deemed it a "rollicking spectacle full of ingenious set pieces"; she found no jarring stylistic shift between Donner and Lester, crediting the powerhouse performances of Reeve and Hackman for anchoring the film. David Denby in New York magazine applauded Hackman’s gleeful relish for villainy and the film’s surprisingly light and comedic tone. Ares magazine’s Christopher John noted that Superman II thrives as standalone entertainment but wisely warns that prior knowledge of the original enhances appreciation immensely.
On Rotten Tomatoes, Superman II holds an eighty-three percent approval rating from fifty-eight reviews, with a consensus that applauds its ambition and emotional depth despite "occasional pratfalls." Metacritic reports a weighted score of eighty-three out of 100 from sixteen critics, cementing its status as a benchmark superhero sequel that many still consider one of the genre's greatest achievements.
The Richard Donner Cut of Superman II
Years of fan campaigns and internet petitions culminated in a landmark moment for film preservation: The Richard Donner Cut of Superman II. Released on DVD and Blu-ray in 2006, this version is a meticulous reconstruction that reunites Donner’s eighty percent of original footage with newly recovered scenes, including Marlon Brando’s pivotal role as Jor-El, sourced from a Warner Bros. vault in England. This director’s cut restores the original Krypton prologue, the Daily Planet opening, and the original time-reversal ending that logically concludes Superman II and realigns the narrative across both films. It stands as a powerful early example of fan-driven reclamation of a director's vision, presaging later movements like the campaign for Zack Snyder's Justice League.
... and on to Superman III.
