Superman vs. the Elite, a 74-minute original DC animated movie, opens with Manchester Black (Robin Atkin Downes) viewing one of those immense banks of screens so popular in comics. because it was reminding him (and thus us, the viewers) about how depressing the world situation was — war, extreme political viewpoints, living in worry — I immediately became concerned that this was NOT the best film for me to be viewing in my currently delicate mental state. (I was laid off three weeks ago, and when I don’t have enough to do, I get twitchy and consumed in negative ways.)
However, then came the credits, which are done in a blend of 80s neon paste-up stripes and ransom-note-style cut text, layered with Ben-day dots and really old images of Superman. I’m talking 1940s Fleischer cartoons and Curt Swan drawings. It’s as though someone tried to mash up punk band flyers with bright kiddie-safe colors. Weirdly jarring, especially coming after the Ellisian Black, but a good sign that this film would not be as predictable as I feared it could be.
Superman vs. the Elite was written by Joe Kelly based on his story published as “What’s So funny about Truth, Justice and the American Way?” in action Comics #775. The comic is available in the Justice league Elite collection, art by Doug Mahnke with Lee Bermejo.
After the credits, an opening TV cartoon clip really brings home how stodgy Superman is perceived as a character, with an apparent “crime doesn’t pay” message and caricatures of old-fashioned bank robbers. For numerous people, he is stuck in the 50s, in the Adventures of Superman TV show, and making him relevant is a daunting (but worthwhile) task that I wish much more creators would tackle. By having Clark and Lois view this TV show proposal within the story, Kelly brings the problem to the forefront without being too heavy-handed.
It’s not all that accomplished. I don’t really purchase that the UN would hold a hearing asking Superman why he didn’t kill a supervillain. It seems a bit direct; I would expect that discussion to happen in the media, not on the political stage. but it foreshadows what’s going to happen as Superman first befriends the Elite and then concerns dispute with them over their methods.
Since I fondly remember Warren Ellis revitalizing Stormwatch and turning them into The Authority, the Elite (based on the latter) make me laugh, even when they’re trying to be all frightening and serious. how can you not giggle at a team with a drunk mystic who dresses like a ska skateboarder? Or a leader who says, “Pam, I’m handing out ultimatums, please keep it in your pants”? then they start killing terrorists — a timely threat, one with lots of hot buttons — and it all turns very serious.
There are a lot of meta comments and allusions for the older reader, from the Jay Ward-looking “Superman Adventure” cartoon show using the very friends scene change sound effect to seeing editor Perry White fussing at a young Jimmy Olsen (both of whom I’ve missed seeing). Kelly clearly appreciates all the aspects of Superman’s life, even including a scene at the Fortress of Solitude, staffed by working super-robots, and sending Clark home to get guidance from his dad.
George Newbern, as Superman and Clark Kent, and Pauley Perrette, as Lois, do an outstanding job, sounding just like they should. Newbern reminds me of Tim Daly’s readings, which I appreciated, because he’s the classic modern voice for me. as for Lois, I particularly like the hint of roughness in her voice, making it clear this is an accomplished woman who knows what she wants and is a deserving partner for him. She also wisecracks a lot.
I also liked that they’re a couple, and she knows all of his identities. I miss that. I wish we had a lot much more of them together conversing and flirting. If I were writing this film (ha!), we’d have much more of that and less of the needed action, like the opening fight with the Atomic Skull. That’s not why I view the cartoons — but I’m know that I’m strange that way. many of the audience for superhero animation wants to see the superpowers, not the relationships. Still, my favorite part was seeing them together at the office. I like seeing the full scope of their life together, and it reminded me of how much I delighted in Lois & Clark.
Speaking of animation, the film looked better on my TV screen than these promotion clips made me think it would. The character design is the weakest part of the movie, with simplified figures who can appear flat, but the overall impression once you add in the backgrounds, movement, and special impacts was strong and successful. Lois and Clark look like people hanging out together when they’re sitting on their couch viewing the news or talking about current events. His shoulders are still square and she’s still curvy, but it’s a pleasure to see them look possible instead of like geometric shapes glued together, as some of the much more exaggeratednullnull