Superman, along with Mickey Mouse, is one of the more important figures in the history of comics and animation. He was the first true superhero to appear in comics, and certainly embodies the noblest qualities of 20th Century North America. Generations of children have grown up on his adventures on TV, movies, radio and comic books. As such, a review of *Last Son of Krypton*, the pilot film of the WB's *Superman* series deserves an extended length.
In one unforgettable scene in *Last Son of Krypton*, Superman battles a mecha to a standstill. Now, robots have always appeared in the Superman comic strips and TV shows, but never as a Japanese-style mecha. Aside from the dramatic impact of the fight, there is a clear implication for our interpretation of such symbolism. Warner Brothers seems to acknowledge that while Japanese animation has had its heyday, it's time for American companies to win back the anime fanbase by fighting fire with fire. *Last Son of Krypton* was designed as an introduction for the current Warner Brothers *Superman* TV Show, yet one also gets the feeling that Alan Burnett, Paul Dini and the other creators of the show would like the movie to stand on its own.
So how does *The Last Son of Krypton* fare as a contender? To answer that question, it's necessary to compare the film to the two acknowledged classics of previous Superman adaptations: the Fleischer series and the 1978 feature film. It's also worth our while to compare the film to the better installments of the subsequent series.
The Fleischer *Superman* series featured dramatic lighting, tasteful rotoscoping, nonexistant character development, and weak plots. These qualities are a direct reflection of the limitations placed upon short subjects. The series looked like a Superman comic of the period brought to life, but never contained the continuity that makes reading a comic book such an addictive pleasure. In contrast, the 1990s version of Superman features flatter colors, minimal special effects, superior character definition and a stronger plot. The Warner Brothers version of Superman doesn't really resemble the contemporary comic at all; rather it is an Art Deco idealization of what the comic book once was in a simpler era. The animation isn't as fluid as in the Fleischer efforts either, something noticable mainly during repeat viewings.
*Last Son* doesn't compare very favorably to the feature film *Superman*. It's ironic that a live action film has more awe-inspiring special effects and more convincing flying sequences than a cartoon. What isn't so strange is that the 1978 film has stronger characterizations and a more gripping plot; these factors have traditionally been weak in American animation. Since part of each film covers the same ground - Superman's origin - more obvious comparisons can be drawn, and in each one *Last Son* loses to the 1978 film. Burnett was able to avoid such direct comparisons to a live-action blockbuster in his *Batman* TV show by not telling Batman's origins until well into the series; one wishes he repeated the same trick with Superman.
*Last Son*, then, lies somewhere between Fleischer and the 1978 feature film in quality. It isn't the definitive version of Superman by any means, but it isn't too shabby either.
As a pilot for the TV series, "Last Son* succeeds in whetting our appetites. Subsequent episodes are better animated and written than this one, especially those with Darkseid. The introductions of Steel, Lobo, and Metallo, for instance, are gripping episodes. There are also intriguing guest appearances of other DC Heroes like Doctor Fate, and a few "alternate reality" scenarios.
*Last Son*, like the Warner Brothers *Superman* series, succeeds in creating a contemporary version of the Superman legend by synthesizing some of the better elements of the various versions of Superman's comic book adventures. Lex Luthor, as in the current comic book continuity, is a villain worthy of a James Bond movie - a heartless yet magnetic personality with the finances and technology of Lex Corp. to support his evil schemes. Superman harkens back to the more innocent days of the comic strip, but with the more stringent powers of today's Superman. Lois Lane is unlike any of the various versions of Lois; voiced by Dana Delaney, she is both sexier and tougher than the Lois most of us grew up on, probably the closest comparison would be Margo Kidder's portrayal. Tim Daly's Superman voice is also quite good, capturing the earnestly bland voice one imagines Superman uses in his comic books.
In sum, I recommend the TV series heartily, and recommend *Last Son of Krypton* somewhat less strongly. This film succeeds as a promotion device for the TV show, but isn't the best installment of the TV series, and it doesn't stand on its own. It's a pleasant way to pass a rainy Saturday morning, but not good enough for you to race to the video store in search of it. By all means, watch, enjoy, and support the TV series, and hope that Warner Brothers starts releasing better episodes on tape.
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