Page 22 THE VILLADOM TIMES I & III • June 26, 2013 ‘Man of Steel’ is hero with conflicting allegiances by Dennis Seuling These days, movie screens are filled with all sorts of superheroes with special powers, but the one who started it all is that strange visitor from another planet: Superman, who made his first appearance in comic books in 1938. Now, after 75 years and numerous versions in various media, he is back in “Man of Steel,” a reboot from Warner Brothers that assumes a good deal of knowledge about the character on the part of the audience. A lengthy prologue recaps the story of how the baby Kal-el gets from the dying planet Krypton to Earth. His parents, Jor-el (Russell Crowe) and Lara (Ayelet Zurer), certain that Krypton’s days are numbered, try to convince the Kryptonian leaders to look to space as the only chance for survival. But Krypton is undergoing a military coup led by General Zod (Michael Shannon), so Jor-el’s warnings are set aside. The sequence ends with Kal-el being rocketed into space as his home planet is destroyed. An abrupt fast forward takes viewers to a young, bearded fellow (Henry Cavill) who is spending his twenties flitting from job to job, occasionally saving lives anonymously along the way. Following the advice of his dad (Kevin Costner), he has not revealed himself to the people on Earth. Like many humans, he is conflicted, and that is the connection the viewer makes with the character. The film picks up as an old enemy comes to Earth threatening to destroy the planet unless its people turn British actor Henry Cavill stars as Superman in ‘Man of Steel.’ over “the alien.” It is around this time that the fellow, known as Clark Kent, divulges his hidden alter ego to investigative reporter Lois Lane (Amy Adams), who becomes a major player as the American military, distrustful of the havoc a person with super powers could wreak, gets involved. “Man of Steel” is excellent in its first 90 minutes. Director Zack Snyder (“Watchmen,” “300”) and writer David S. Goyer (“The Dark Knight Rises”) present the Kryptonian alien as a man unfocused and unsure of his own destiny. The script skips his teenage years (covered extensively on the TV series “Smallville”) and gets to the problem at hand. Cavill plays the as-yet-unnamed Superman straightforwardly, without the frequent quip one might recall from Christopher Reeve’s portrayal in the 1978 film. This is a troubled man, feeling allegiance to both his adopted home and that of his birth. Zod’s unexpected appearance on Earth forces Kal-el’s hand, and he is finally revealed to the world. Cavill conveys a brooding quality appropriate to the role, and looks great in the newly designed dark suit. Viewers also learn that the “S” on his chest does not stand for “Superman.” Ms. Adams plays a more intelligent, less ditzy version of Lois Lane than is usual, and the fact that she knows this pleasant, hunky guy can crush a car or soar into the stratosphere gives the film a new spin. Zod is one of the best-written roles in the film. Shannon does considerable scenery chewing, but his skillful acting keeps the character from being simply cartoonish. His Zod is a frightening presence whose megalomania and self-righteousness, combined with the power he wields, makes him a palpable threat to both Superman and all of Earth. A superhero shines in direct proportion to the strength of the villain, and Shannon is a formidable Zod. The early part of the movie features several flashbacks that offer glimpses of the young Clark Kent trying to cope with his powers. These scenes are wonderful and have the flavor of Norman Rockwell “Saturday Evening Post” covers as Jonathan Kent fears revealing his son’s abilities to the world too early can have terrible effects on the boy. Like any father, he’s interested in the child’s welfare, and he cautions Clark to blend in, suppress his instincts, and keep his powers a secret until the time is right. Despite the terrific early part of “Man of Steel,” something unfortunate happens in the last 45 minutes. It’s as if both writer and director decided to go on holiday and let the movie devolve into yet another wham-bang spectacle, with endless CGI mayhem. Although we finally get to see this new Superman in action, the far-too-long finale is repetitive, tedious, and ultimately numbing. The cleverness evaporates, and “Man of Steel” becomes a super brawl and a super bore. Rated PG-13, “Man of Steel” is not a rehash of everything we know, or thought we knew, about Superman. It presents the character with inner conflicts without purging his iconic history. It also sadly shows that Hollywood cannot exert enough self-control to rely more on substantial characterization and plot than on special effects.