Superman

"To me, now and forever, Superman is the guy. If there's only one guy, this is the guy. There's no other guys, there's no better guys, there's nobody competing with this guy. I don't care if he's dead, alive, quadrupled, under a red sun, yellow sun, he's Superman and that's it, case closed."

"If only I could fly..."

"The story would begin with you as a child on far-off planet Krypton. Like the others of that world, you had super-powers. The child’s scientist-father was mocked and denounced by the Science Council. They did not believe his claim that Krypton would soon explode from internal stresses. Convinced that his prediction was valid, the boy’s father had been constructing a model rocket ship. As the planet began to perish, the baby’s parents knew its end was close. There was not space enough for three people in the small model craft. They put the baby into it. The mother chose to remain on the doomed planet with the man she loved, and die with him. Tearfully, hoping that their baby boy would survive, they launched the craft toward the planet Earth. Shortly, Krypton exploded and its millions of inhabitants were destroyed."

"What led me into creating Superman in the early thirties? … Hearing and reading of the oppression and slaughter of helpless, oppressed Jews in Nazi Germany … seeing movies depicting the horrors of privation suffered by the downtrodden … I had the great urge to help… help the downtrodden masses, somehow. How could I help them when I could barely help myself? Superman was the answer. ~ Jerry Siegel"

"The interesting thing about the Man of Steel was that regardless of how extraordinary the mortals of Earth thought him to be, the Kryptonians didn’t think of themselves as super at all when they were together on their home planet. Why? Because on Krypton, everyone was strong. Gilbert and Sullivan said it best in their operetta, The Gondoliers, when the Grand Inquisitor proclaimed, “If everybody’s somebody, then no-one’s anybody.” But when a Kryptonian left the home planet and came to live with the mortals of Earth, the difference was striking."

"Superman stands alone. Superman did not become Superman, Superman was born Superman. When Superman wakes up in the morning, he is Superman. His alter ego Clark Kent is how Superman views us. And what are the characteristics of Clark Kent? He's weak. He's unsure of himself. He's a coward. Clark Kent is Superman's critique on the whole human race."

"The police officer who puts their life on the line with no superpowers, no X-Ray vision, no super-strength, no ability to fly, and above all no invulnerability to bullets, reveals far greater virtue than Superman — who is only a mere superhero."

"Superman represents an instinctive problem that we are all born and grown up with, that we can fly ─ after all, we can fly now; we couldn't before ─ and that we can carry on all kinds of scientific investigations, that we can stop crime, which Superman does, and that we can have a good influence on the world, and that we can be protected by the powerful influences in the world which may be our own parents, or may be the authorities, or what not."

"So I advised them that in my experience children throughout the ages, long before Superman existed, tried, to fly, and also it has been my specific experience, since I have been at Bellevue Hospital, that certain children with certain emotional problems are particularly preoccupied with the problem of flying, both fascinated by it, and fearful of it. And we frequently have on our ward at Bellevue the problem of making Superman capes in occupational therapy and then the children wearing them and fighting over them and one thing or another ─ and only about 3 months ago we had such, what we call epidemic, and a number of children were hurt because they tried to fly off the top of radiators or off the top of bookcases or what not and got bumps."

"There is another reason why Superman has had good influence. That is the years of continuity of the Superman character. The children know that Superman will always come out on the right side. On that, I can give you another story about what they wanted to do. At the end of the Second World War we bad the problem of a certain number of soldiers coming home as amputees. One of the script writers got the bright idea that we ought to prepare children for their fathers coming home as amputees by having one of the characters─ I don’t think it was Superman ─ one of the others ─ have an accident and lose his leg. They wanted to know what I thought about that idea. I said I thought it was absolutely terrible because I felt that the children loved this character and, after all, how many children were going to have to face the question of an amputee father? Certainly there are far better ways of preparing such children for such a father than to have to shock the whole comic reading children public. So I disapproved of it."

"Jerry and Joe’s story of the Super-Man-that diabolical scientist who conducted gruesome experiments on unsuspecting homeless men-was still incubating in their minds. Then, according to Superman lore, late one night in the summer of 1934, the answer hit Jerry like a lightning bolt. They had it backward. The world had no need for an evil superman. The world needed a good superman-a trustworthy and powerful ally who would come to the rescue of regular people by protecting them from ruthless criminals, cheating businessmen, and corrupt politicians. With millions of people out of work, the streets full of crime, the stock market in ruins, and a war brewing in Europe, readers were starved for hope, inspiration, and a sense of power. A good superman could provide all of that. ACCORDING TO THE LORE, the essence of the character-the one the world would come to know-flashed into Jerry’s mind that restless night with the force of one of those sci-fi meteors crashing to Earth. In point of fact, the epiphany of the good superman sparked a long collaboration that would lead to the iteration of the character known today."

"The few publishers who considered the proposal rejected it. Frustrated with the failure, Joe went into a rage and began destroying the manuscript, Jerry intervened but managed to save only the cover. The cover, showing the Superman leaping at a gun-wielding thug, was eerily reminiscent of Mitchell Siegel’s death. Still not quite right. The work continued. As the writer, Jerry took the lead in developing the now-classic story line that finally emerged. Superman is born on the planet Krypton. His scientist father places him in a small rocket ship and launches him toward Earth just moments before Krypton erupts in devastating earthquakes and explosions that kill all the inhabitants. The spacecraft lands on earth, where people discover the baby and take him to an orphanage in a small Midwestern town. A family named Kent adopts him, gives him the name of Clark, and raises him on a farm. After realizing the possibilities of his superhuman powers, Clark moves to the big city of Metropolis and becomes a reporter for a great metropolitan newspaper. In times of trouble Clark sheds his street clothes and peels off his glasses to become Superman. He uses his powers to leap great heights, to hoist huge weights, to deflect bullets, to soar into the sky, and to subdue criminals. His only motives are to protect the innocent, to bring the guilty to justice, ad to crusade for a better world. After saving the day, Superman returns to his guise as the mild-mannered Clark, who works at the newspaper with a gutsy “girl reporter” named Lois Lane. But Lois has little time for bespectacled, nerdy Clark. She only has eyes for Superman. Sensing that the character was special, the two creators worked feverishly to fill in the details of his persona. Before long the full picture was on the page. Superman had his rugged good looks, his shock of blue-black hair, his muscular physique, his flowing red cape, and the bold S insignia on his chest. Joe designed his uniform as a cross between a spaceman suit and a classic circus performer outfit-down to the blue tights, red shorts, and cape. He skillfully captured each of Superman’s actions in single comic panels: the caped crusader raising his arms toward the heavens, leaping off the ground with incredible strength, soaring upward at supersonic speed, and landing with both feet firmly planted on the ground. The Man of Steel-also called the Man of Tomorrow in those early days-stands tall, hands on his hips, bullets bouncing off his chest, as befuddled, gun-packing gangsters fire shot after harmless shot. In time the classic image would evolve: The handsome, smiling superhero would save Lois Lane from all kinds of danger, hoist her in his arms, soar over the flickering lights o Metropolis, and deliver her safely home."

"To breathe life into the Superman character, Jerry and Joe drew upon their love of science fiction, their passion for movies, their fascination for books, and their experienced growing up Jewish during the Great Depression. The Greek and Roman myths they learned at school featured heroes with superhuman strength. Strange visitors from distant planets were common in the science fiction stories they devoured night and day. Daredevil heroes clad in masks and capes were all the rage in the movies they watched at the Crown and the Uptown. Even heroes with dual identities were commonplace on the screen and in print. The silent screen character Zorro was the alter ego of Don Diego de la Vega, a sissified aristocrat who ate, drank and dressed the dandy to throw off suspicion of his role as the night-riding avenger. The Shadow, a pulp magazine character, was the alter ego off Kent Allard, a famed pilot who fought for the French during World War I. Just as the name Clark Kent was a cross between actors Clark Gable and Kent Taylor, the name of the mythical city of Metropolis came from the 1927 silent film of the same name. For Superman, the magic was in the mix. Jerry and Joe’s Jewish heritage deeply influenced the makeup of Superman too. The all-American superhero reflected many of the beliefs and values of Jewish immigrants of the day. Like them, Superman had come to America from a foreign world. Like them, he longed to fit in to his strange new surroundings. Superman also seemed to embody the Jewish principle of tzedakah-a command to serve the less fortunate and to stand up for the weak and exploited-and the concept of “tikkun olam”, the mandate to do good works (literally, to “repair a broken world”). Before Superman is blasted off the dying planet of Krypton, Superman’s father, Joe-El, names his son Kal-El In ancient Hebrew, the suffix ”El” means “all that is God.” Then there is the Moses connection. Just before Krypton explodes Superman’s parents place him in a crib-size rocket and launch him toward Earth to be raised by loving strangers. In the Old Testament, after Pharoh decrees that all newborn Jewish males must be killed, Moses’s mother places him in a crib-size basket and launches him down the Nile River to be raised by others. Just as Pharaoh’s daughter rescues the infant Moses from the bulrushes and nurtures him as her own, the Kents find and raise Superman on Earth. The Superman story also resembles the tale of Rabbi Maharal of Prague, who created his own superman, called the Golem, to protect the people of the Jewish ghetto from hostile Christians."

"While Superman was a complex conglomeration of influences, Jerry and Joe left plenty to reader’s imaginations. What Superman “wasn’t” was just as important as what he was. The character had no clear ethnic background, no hint of an accent or dialect, no stated religious preference, and no political affiliation. The Superman character offered a little bit to everyone. Coming from a distant planet, he was the ultimate foreigner. Raised in the Midwestern heartland, he was the quintessential American. Growing up in a small town, he was rural at heart. Moving to a big city, he became more sophisticated and worldly. He was both weak and strong. Hi meek, mild alter ego, Clark Kent, was a sheepish bumbler, but he was always ready to transform himself into the all-powerful superhero. So Superman was relevant to the prairie farmer, the urban factory worker, the white-collar insurance salesman, the hardworking waitress, and the struggling immigrant. Millions or ordinary people struggling through the Depression could imagine themselves shedding their plain, run-of-the mill exteriors to reveal their real power within. True, Superman had descended from the heavens with the power of a god. His intention was godly too-to protect humanity from its own worst instincts. But Superman had characteristics the masses could relate to. He could beam with a smile, burst into anger, and form lasting friendships. Beneath it all Superman seemed like a regular guy. Superman was also a creation of his times. To keep up with those times, Jerry and Joe often spent Saturdays flipping through out-of-town newspapers and national newsmagazines for ideas at the Cleveland Public Library. The headlines described crisis after crisis. The New York Stock Exchange had lost 90 percent of its value Millions of Americans were out of work, a Midwestern drought had engulfed prairie farms in the Dust Bowl, and desperate farmers had to pack up their starving families and head to California to start anew. The international news was no more comforting. Headlines warned of economic collapse in global markets, the rise of fascist regimes in Europe, and the new communist experiment in the Soviet Union. The whole world seemed to be heading toward an explosion."

"In his popular fireside chats, broadcast on all the major radio networks in an era before the invention of television, Roosevelt spoke in plain language that resonated with common men and women. As children of the Depression, Jerry and Joe saw hope in FDR’s pledge to help the average person cope with the “hazards and vicissitudes of life,” to provide some measure of protection “to the average citizen and to his family against the loss of a job and against poverty-ridden old age.” Superman could get behind goals like that."

"So Jerry and Joe plucked elements from the world around them to stir into their Superman stew. For the most part however, Superman’s millions of fans would ignore his origins. For them the Man of Steel would simply be the defender of the little man and woman-and a big problem for the forces of evil in the world."

"SUPERMAN was introduced to the world in 1938 as the Champion of the Oppressed. In time his moniker morphed into the defender of Truth, Justice, and the American Way. In his journey through comic books, comic strips, radio and TV programs, movies, and more, the character has kept a careful watch over the less fortunate and the downtrodden. From defending coal miners against unsafe working conditions (1938) to supporting protestors opposing the oppressive regime in Iran (2011), Superman has maintained a social conscience that is as strong as steel."

"Despite their success, Jerry and Joe had a beef with the world. Back in 1938 they had signed away the Superman copyright to Harry Donenfeld for $130-$10 for each of the 13 pages of “Action Comics” No. 1. True, they were not making well above the standard industry rate and had a ten-year contract that assured them steady work and a good income. But they knew that millions were flowing in from the merchandise sales and media ventures, and most of it was ending up in the pockets of other people. And why should Harry Donenfeld get rich off Superman? He hadn’t envisioned the character and spent years perfecting it. As the Cleveland collaborators churned out page after page, week after week, month after month, Donenfeld continued to build the Superman empire, even as he added new superheroes and comic books to his stable. Before long, friends would greet the party-loving publisher in fancy restaurants with the line “Hiya, Superman,” at which point he would tear open his shirt and throw out his chest to expose his blue T-shirt with the big red S on the front."

"As a former pulp writer himself, Maxwell knew he had to make sure that the writers wove liberal doses of good old-fashioned “blood and thunder” into each story arc. At the same time he walked a delicate line as he balanced Superman’s thirst for action with his good intentions. Maxwell knew that the show’s young listeners-and their parents-prized the wholesome qualities of honesty and fair play. So Superman-by now referred to as the Big Blue Boy Scout by other, edgier comic book superheroes-remained squeaky-clean on the radio."

"The radio show was no more immune to criticism than the comic books were. Some critics claimed that Superman reflected the concept of “der Ubermensch”, a German term that could be translated into “the Superman.” The term was coined by 19th century German philosopher Friedrich Nietzsche, who argued that certain people could transcend the influences of religion, culture, and conformity to become enlightened supermen. According to Nietzsche, the person could reach this pinnacle by rising above the pestering of the masses, who buzz like “flies in the marketplace.” After Nietzsches death, the German Nazis twisted his words to mean that their ideal of the blond, blue-eyed German (what they called Aryan) could rise above all “inferiors” to create a dominant race of supermen. The criticism that Superman manifested a Nazi concept showed a complete lack of understanding of the character. While striving to create a popular superhero who would attract a mass audience Jerry and Joe had forged Superman to embody the best parts of the American way of life and to raise awareness of un-American” attitudes. The notion of un-American behavior applied not only to gangsters who broke the law, crooked politicians who violated the public trust, and wealthy industrialists who exploited workers, but also to foreign powers that threatened democracy. So Superman’s creators-too busy to be sidetracked by the critics-aimed their superhero at the looming Nazi threat in Europe."

"THE CREATORS of the superman character had been firing their initial salvos at the then undeclared enemy even before the United States entered the war. At first the creators kept their attacks subtle-by comic book standards. Superman writers never mentioned German chancellor Adolf Hitler, Japanese emperor Hirohito, and Italian dictator Benito Mussolini by name, even though it was clear that the jabs and barbs were aimed at these Axis leaders, as well as their ruthless lieutenants, devious spies, and formidable combat troops. Furthermore, Superman’s team sought to hammer home to their readers that the foreign dictators followed a philosophy of racial and religious superiority and that their quest for world domination included plans to conquer America. At about that time, nationally circulated “Look” magazine commissioned Siegal and Shuster to create a strip entitled “How Superman Would End the War.” For that special assignment, the collaborators took off their gloves and actually named Hitler as the target. So in the pages of “Look” the caped crusader grabbed the Fuhrer by the scruff of the neck and growled, “I’d like to land a strictly non-Aryan sock on your jaw.” Instead of taking justice into his own hands, however, Superman delivers Hitler to a tribunal of world leaders to face justice. In another direct challenge in a Superman strip the caped crusader demolishes part of the German Westwall with France. That’s when Superman’s fictionalized triumphs over the Nazis came to the attention of the German ministerial bureau that tracked foreign press commentary. The German propagandists did not respond well to the Superman stories, and the U.S. press covered their response. U.S. news paper reports that infamous minister Joseph Goebbels exploded ina meeting over the Superman anti-Nazi crusades were almost certainly exaggerated if not outright false. But it is true that “Das Shwarze Korps”, the weekly newspaper of the infamous Nazi Secret Service, denounced Superman. In April 1940 the paper ran the proclamation, “Superman “ist ein Jude”! (“Superman is a Jew!”) The sarcastic, mocking piece referred to Superman’s primary creator as Jerry “Israel” Siegel and accused him of sowing “hate, suspicion, evil, laziness, and criminality in young hearts”: Jerry Siegel, an intellectually and physically circumcised chap who has hid headquarters in New York, is the inventor of a colorful figure with an impressive appearance, a powerful body, and a red swim suit who enjoys the ability to fly through the ether. The inventive Israelite named this pleasant guy with an overdeveloped body and underdeveloped mind “Superman.” He advertised widely Superman’s sense of justice, well-suited for imitation by the American youth. As you can see, there is nothing the Sadduccees [an ancient Jewish sect] won’t do for money! Jerry Siegellack stinks. Woe to the American youth who must live in such a poisonous environment and don’t even notice the poison they are swallowing daily. Superman “did” reflect the culture of his Jewish creators. The Jewish American story was baked into the personality of his character and his exploits. Superman also seemed to reflect the more modern-and frightening-Jewish realities of the time. The story of baby Superman’s journey from Krypton seemed to foreshadow the saga of the Kindertransports-the emergency evacuations of hundreds of Jewish children, without their parents, from Nazi Germany to safety in Great Britain prior to the war."

"Like most Americans, the Superman creative team foresaw the long road ahead and knew that victory hinged on the effectiveness of the nation’s leadership and the bravery and blood of its fighting men. The creators wanted to use Superman to support the war effort, but there was a problem, which “Time” dubbed “Superman’s Dilemma.” Given the character’s power to soar to the sky, to change the course of mighty rivers, to turn back tidal waves, and to survive massive explosions without a scratch, it only stood to reason that he could single-handedly defeat the enemy in short order. More specifically, Superman ought to be able to drop thousand-pound bombs from the sky on German troops, flick Japanese Zeros out of the air, and drag battleships to the bottom of the ocean. In the end the editors decided against publishing what would certainly be several years of highly implausible Superman combat adventures. Instead Superman would be stationed at home in Metropolis and would make only periodic visits to the front lines to support the troops or to handle delicate, secret missions for the top brass. In Metropolis he would serve as a model for life on the home front, and his encounters with villains like Lex Luthor, the Prankster, the Toyman, and the Insect Master would provide readers with an escape from the weighty issues of the war. Once the home-front strategy was set, the writers needed a plot device to explain why the Man of Steel was not joining the Army, Navy, or Marines and going off to war with the rest of the troops. The solution appeared in the “Superman” newspaper strips that ran from February 15 to February 19, 1942. The story begins with Clark Kent arriving at his recruitment center to sign up for duty. The bumbling reporter is so excited about joining the armed forces that he inadvertently botches his eye exam. The reason: His x-ray vision kicks in, and he accidenatly reads the eye chart in an adjacent room. The doctors declare him 4-F (undraftable) and send him packing. As a result, in the pages of “Superman” comics, Kent does not don a military uniform for the duration, and Superman is free to influence the war as an outsider."

"The homebound Superman encourages Americans to buy war bonds, to ration scarce supplies, and to donate to organizations like the Red Cross and the United States Services Organization (USO). In his adventures, Superman travels outside Metropolis to military training centers to lift the spirits of the troops and to prepare them for the action ahead. In one comic book adventure he travels to a fictional U.S. military training center, where he takes part in a mock war game by taking the side of the blue army in a simulated battle with the red army. Superman ferries blue troops across rivers, bombs red airfields with sandbags, locates red snipers with his x-ray vision, and finally tunnels through a mountain to lead blue troops into the red camp. Facing defeat, the red general implores his men to fight on. “What if they were Japs or Nazis?” he asks, “Would you let down the folks who are counting on your to save your country and the world?” At this point the red army summons the strength to repel the blues and win the game. Superman, happily experiencing a rare defeat, concludes that American soldiers are the real superheroes and congratulates the men for being “Super-Soldiers.” Still, from 1941 to 1945 there were stories of Superman’s periodic trips to the front lines, Siegel clearly designed one newspaper strip to draw the attention of American children to the evil of the enemy. In this strip, Hitler Mussolini, and Tojo (Japan’s prime minister) kidnap Santa Claus as part of their plan for world domination. Superman is forced to rescue Old Saint Nick and save Christmas. In addition to these occasional war stories, a number of powerful “Superman” magazine covers trumpeted the war effort, even though there were usually no corresponding stories inside to back up the symbolic cover art; Superman, seen through the periscope of a German U-boat, swimming furiously toward the submarine in the wake of the Allied ship that the sub just sank; Superman holding an eagle on his arm, standing proudly in front of the Stars and Stripes; Superman delivering supplies to an American machine-gun squad fighting in the jungles; Lois Lane, with an Army soldier, a Navy sailor, and a Marine, telling them with a wink, “You’re my Supermen.”"

"[P]erhaps Superman’s most important war contribution was his direct connection to the troops. The scene of a soldier or sailor passing time with a comic book in hand was common overseas, and Superman was the superhero of choice for most of the servicemen and women. In fact, one of four magazines shipped to troops overseas was a comic book, and 35,000 copies of “Superman” alone went abroad each month. The U.S. War Department and USO made sure that copies of “Superman” magazine were distributed to soldiers, sailors, and marines throughout the war. Military leaders hoped to provide a little entertainment and escape until the troops could come back home for good. As “Time” reported, “Superman got a high priority rating last week: the Navy Department ruled that the Superman comic books should be included among essential supplies destined for the marine garrison at Midway Islands. For the tough Marines, as for all U.S. Armed Forces, the Man of Steel is still super-favorite reading.”"

"What if they used Superman to teach children the values of tolerance and fair play and the importance of accepting other kids regardless of race, religion, or national origin? What if Superman could teach a generation of children to reject those who preached prejudice and hate? After all, the entire country had banded together to win the war. Now most everyone was banding together to build a peaceful and prosperous future. Those grim photographs and films of mass graves and starving concentration camp prisoners had made an indelible mark on the public mind. Could Superman lead the way?"

"QUESTION: As different as they are, what is it that you think creates the dynamic for Batman and Superman to essentially be each other’s best friend?"

"Batman v Superman: Dawn of Justice"

"Man of Steel"

"Superman Returns"

"Superman IV – Die Welt am Abgrund"

"Superman III – Der stählerne Blitz"

"Superman II – Allein gegen alle"