Bane revealed!

Today, Warner Bros. Pictures published the first official photo from Christopher Nolan’s final Batman film, “The Dark Knight Rises.” Below, you’ll see Tom Hardy as Bane, Batman’s most physically challenging enemy. As I expected, the Lucha Libre look is gone. In its place is a more practical mask, and by the looks of it, it feeds Bane’s trademark venom into his mouth or his sinus cavities. The super-cynical Fanboy crowd are already drawing comparisons to TMNT baddie shredder, but I promise you that Bane will be a more than worthy foe. I’m officially excited!

Oscar Nominees 2010: Toy Story 3

I saw “Toy Story 3” on opening day. It’s a hard movie for me to write about, because it hit me emotionally exactly where John Lassetter and company intended it to. It’s for my generation and all of those since.
I’m going to offer a bit of a flash into my past. I had friends as a kid – sort of. I never really felt close to most of my friends. In my pre-kindergarten years, outside of my parents and grandparents, my pals were my toys. I had great adventures with them in my mind’s eye. It was truly the best of times, because I knew nothing better.
I remember giving up my toys at age 12. I say I gave them up loosely, because I still buy them. But I knew I had to change how they fit into my life if I was going to function in the world. It’s still a bittersweet memory, thinking about the realization hitting me that I had to leave these guys behind. Sure I could visit them, but I had to grow up.
This understanding is what Andy is faced with at the beginning of TS3. He’s about to leave for college, and his mom has decreed that he must decide the fate of Buzz, Woody, and the gang. You see that the boy is conflicted, and that the toys themselves are doing their best to adjust to the situation.
I’m going to purposely avoid plot detail. All I want to say is this: Everything ends. The only thing we can do is to try to find a way to reconcile that end, even if it’s a bittersweet reconciliation. If you have yet to see TS3, I recommend that you do. Fans of the first two will not be disappointed. TS3 will not win Best Picture, but it should win Best Animated Feature.

Geek of all Trades Presents: A Salute To Halloween!!! Part 1

I’m a bit of a wuss when it comes to what is now considered to be “horror film.” I can’t get into plotless gorefests that exist just to give you gore. I want a story, and I would prefer that the story be a good one.

For the reason stated above, and because I am really into Halloween this year, I’m going to do a series of entries on my favorite movies that I connect with Halloween. The list will vary in genre. In any case, I hope that it gives you something to think about at the very least.

“Stir of Echoes” (1999) was seen by practically no one when it ran in theaters. I only saw it because I worked in a theater at the time and could see it for free. It’s a shame that it still hasn’t found a wider audience. I would say that it’s one of the most wrongfully overlooked horror/suspense films of all time. It’s a rare, thoughtful ghost story, with a plot that is both direct and somewhat complex. I’m going to just give you a brief synopsis here, in the hope that you’ll seek it out for yourself!

Tom Witzky (Kevin Bacon) is a blue-collar father and husband living in Chicago’s Logan Square neighborhood. He thinks nothing of it when his son Jake (Zachary David Cope) talks to himself in the bathtub. But when his sister-in-law Lisa hypnotizes him at a party, strange things start happening to Tom, and Jake may just know something about it. His wife Maggie (Kathryn Erbe) is left to wonder and worry as the two men in her life continue to act stranger and stranger.

David Koepp adapted the screenplay from a story by Richard Matheson (I Am Legend, Somewhere In Time), and also directed this delightful spook story that pays loving tribute to Chicago as its well-woven narrative unwinds. There are some jump moments, and some of the images are a little extreme, but if you’re used to fare like the “Saw” series, you won’t be phased. “Stir of Echoes” is blessedly short – according to my DVD, it runs 94 minutes. Get a copy however you can.

Kick-Ass: artful gore, American Pie-style humor…one of the best superhero films yet!

It’s impossible to talk about “Kick-Ass” without spoiling some of the geeky gory goodness contained within. It’s not exactly a deconstruction of superheroes as much as it is a story about what might happen if some random people, each mentally unbalanced in his or her own special way, decided to act as though they WERE superheroes and actually take on crime lords and corrupt cops. Out of that comes both superhero movie parody and comic-book homage, as well as some fascinating characters and exciting, harsh action sequences that verge on Tarantino-level violence. Some will hate it. In fact, I know a handful of people who do. In my very humble opinion, though, Kick-Ass is a fantastic variation on the superhero movie genre.

I’ll avoid giving away plot points, but let me just introduce you to the central characters. Dave Lizewski (Aaron Johnson) is the lonely teenager who eventually becomes Kick-Ass. Dave’s hormones are typically in overdrive, and he reads comic books. As Kick-Ass, he is the closest of our heroes to having superpowers. Through a complicated accident, Dave has lost several nerve endings in his body, and much of his skeleton has metal reinforcement. In a nutshell, he can be hurt badly and not feel it. Also, his major bones are hard to break.

Damon MacCready (Nicolas Cage) has been training his 11-year-old daughter, Mindy (Chloë Grace Moretz), to be his sidekick for most of her life. They’re a variation on Batman and Robin, except that Batman’s secret identity is more Ned Flanders than Bruce Wayne, and Robin is a girl who has totally lost her own identity in her father’s revenge quest. Big Daddy even looks like Batman, and talks in the same stilted rhythm that Adam West used in the 1960’s TV show. Hit Girl is essentially a female Robin in appearance, with the addition of a schoolgirl plaid skirt and a purple wig…yikes! Hit Girl gets some of the best lines and most impressive action sequences.

Chris D’Amico (Christopher Mintz-Plasse) becomes The Red Mist, a spoiled brat who has a tricked out car. The superhero ID isn’t nearly as interesting as Chris himself, who is the attention-starved son of Frank D’Amico, the crime boss who is also the object of Big Daddy’s hatred. The elder D’Amico is played with delightful wit and timing by Mark Strong. (GEEK ALERT: Strong will appear as Sinestro in next summer’s Green Lantern!!!)

The joy of watching this movie the first time for me was not knowing exactly how it was going to unfold. I want to leave that surprise to you, the uninitiated viewer. If you’ve already read Mark Millar’s comic series, the movie maintains the tongue-in-cheek tone, yet retains its heart. There are moments of hilarity, shock, and genuine emotion. All of the actors are well-cast, and the pacing is pretty even. Even the exposition doesn’t really lag. I hope that the sequel can deliver a story of equal or better quality. This is definitely my favorite superhero movie of the year.

Dark City (1998): an overlooked gem *spoilers*

I’m not often blown away by a movie on a second viewing. That makes this entry an unusual occurance. I watched Dark City about ten or more years ago. I thoroughly enjoyed it. I bought the DVD soon after, but over the course of the next few years, I sold it. I didn’t give the movie much thought. It’s a movie that comes up often among film geeks and sci-fi geeks, most notably film critic Roger Ebert. I saw the DVD for $6 recently, and I felt the pull to re-investigate this flick.

I had really forgotten how well this movie was made. Parts noir, mystery, sci-fi, action, and mindtrip, Dark City predates Inception and even The Matrix in creating a world within a world. Production design, cinematography, script, and acting are all first rate. I’ll keep the synopsis as spoiler-free as I can. A man (Rufus Sewell) awakes in a bathtub. His clothes are folded and draped over a chair. He stands to look in a mirror, only to see that there is a spot of dripping blood on his forehead. He wanders out of the bathroom and discovers he is in a hotel room. He happens upon a dead body near the bed. He has no memory at all prior to waking up. The deeper he tries to dig, the more mysterious his circumstances seem to be.

Dark City leaves much to interpretation, but it’s a movie about the human spirit and whether it can ultimately triumph. There’s plenty of fun along the way, and plenty to think about. There is room to interpret what the film has to say. Indeed, it teems with subtext. Theres much I would like to say about the experience of watching this film. The less I say, the more you can watch it on its own merit. I feel like saying more would be criminal. I wouldn’t want Mr. Hand to come after me… 🙂

Re-Incepted: my second screening of the much-hyped flick

If you read my stuff regularly, then you know that I was chomping at the bit to see “Inception” again while it was still in theaters. On August 29th, 5 days after my birthday, I got my wish. Hollywood Blvd, a favorite theater of mine, sends out a pass for birthdays that’s good for free admission for up to eight people. We had 5: my girl Samee; her mom, Mary; Samee’s sister, Erica; Erica’s friend Mike; and, of course, myself. If you’ve never been, the great thing about Hollywood Blvd. is that they do full food service while you watch the movie. Said service is typically first rate. On this day, unfortunately, our waitress was nearly incompetent. Our drinks didn’t come. In fact, I had to track down another waitress to retrieve them. We weren’t asked if we wanted free refills OR dessert. Again, I had to track someone down. To top it all off, the waitress never brought change. Had I not asked for said change on my way out, she would have had a $10 tip for lousy service. Even this, though, could not ruin my experience with Inception: round 2!

The fun of the second viewing for me was in trying to see little details that I hadn’t seen the first time, while enjoying the things that had impressed me before. Honestly, though, I got so caught up in the experience that I didn’t always remember to look for new things. The actors all commit to the material in a way that made me want to follow their individual and collective journeys, even though I knew their outcomes. If anything, I questioned the motives of Cobb (DiCaprio) more in this viewing. He seemed to me to be more of a protagonist by default this time around. He has the capability of throwing anyone under the bus if it means he can see his kids again. The only reason that Arthur (Gordon-Levitt) has avoided this is because he reads Cobb like a book. The tension in their professional relationship is partly there because Arthur could potentially be a more efficient team leader than Cobb, and Cobb is threatened by this knowledge. Ariadne acts as a sort of conscience to Cobb, right down to forcing him to confront the projection of Mal in limbo. I didn’t fully appreciate her role in the overall plot the first time. And while Eames (Tom Hardy) isn’t crucial to Cobb’s story, I had forgotten what a brilliant character he is and how well Hardy brings him to life.

Nolan’s eye for an evocative image is certainly no less present here. I found myself staring in awe at many of the wide shots. His DP, Wally Pfister, knows how to frame gorgeous shots, as evidenced in many of Nolan’s films. It’s obvious here as well, with the snow scenes being an obvious standout. The filming angles in the anti-gravity scenes are also stunning.

For me, the bottom line is this: Inception entertains me. It engages me mentally. I enjoy the hell out of it. I doubt that it’s actually as deep as some people want it to be, but who am I to say? I love it. It’s a new classic and I will likely buy the DVD on the day of its release so that I may watch it many more times.

Also, the pizza was delicious.

http://www.atriptothemovies.com

From the Geek-Vault: A Whole Family of Supers! (“The Incredibles” Review)

Elastigirl: Settle down, are you kidding? I’m at the top of my game! I’m right up there with the big dogs! Girls, come on. Leave the saving of the world to the men? I don’t think so.

The superhero movie has been re-examined frequently in the last quarter century, and even more so in the last decade. The success of the X-Men and Spider-Man franchises helped to open the minds of filmmakers and film executives to other ways of telling stories that contain people or beings with unusual abilities. Writers and directors began to break away from any assumed template, and a new wave of creativity became present in the genre. Brad Bird’s “The Incredibles” is a fine example of such creativity.

The first thing we are shown is a collection of what appears to be vintage TV news interviews with “supers” (that’s how they’re known) Mr. Incredible (Craig T. Nelson), Elastigirl (Holly Hunter) and Frozone (Samuel L. Jackson). Each super relates, in their own perception, the stresses of being a hero and of trying to hold onto their secret identity. This show of the characters’ humanity is at the very heart of “The Incredibles,” and it makes the movie that much more tangible.

After wedding Elastigirl, better known as Helen, Mr. Incredible is sued by a man whom he saved from a suicide attempt. While the public opinion of supers previous to this incident was highly favorable, the lawsuit sets off a firestorm of anti-super sentiment, the results of which remind me of the HUAC committee and Senator McCarthy. All supers are forced to retire and are relocated via a witness protection type of program that moves them to a place where they won’t be known for their heroic accomplishments, but rather will blend in to “ordinary” life. When we see Mr. Incredible, now just Bob Parr, 15 years later, he’s still struggling with this adjustment. He works for an insurance company, and an overly crooked one at that. He has put on a substantial amount of weight. He seems to be doing the bare minimum to get through each day. At home, he combs the newspaper for news of his old hero colleagues from what the supers now refer to as “the Glory Days.” One night a week, he slips out with his best friend Frozone (now just Lucius), and they listen to a police scanner in order to find crime to fight or people to save. Two of his three children, Violet (as in shrinking – she disappears) and Dashiell (Dash for short – guess why?) are blessed with powers but have no outlet to use them, and therefore feel frustrated. Helen is adamant about keeping the family below the super radar and maintaining their normal existence. But when, in the course of a single day, Bob loses his job and Mr. Incredible is offered paid hero work, things begin to look up for the once and future champion. Bob weaves a web of lies for Helen – he claims that he’s being sent to conferences by the insurance company – and finds a newfound, or perhaps rekindled, sense of purpose and importance. All is not as it seems, however, and when Bob runs into serious trouble at the hands of the villain Syndrome (Jason Lee), the rest of the family is forced into action in order to save their beloved patriarch.

Brad Bird has a way with characters, as evidenced by 1999’s “The Iron Giant.” In that movie he made a 50-foot tall robot from space as endearing as a small puppy. Here he has very specific ideas about who each member of the Parr clan is and what dynamic they bring to the family. Bob is a man in the throes of mid-life crisis; Helen is responsible for keeping the family running, both domestically and in making sure that Violet and Dash don’t kill each other. Violet is an indie-teen-angst type; Dash is an excitable kid whose love of sports has to be repressed to keep his powers, and the family’s cover, safe. Even baby Jack-Jack is full of personality. He’s a happy and well-behaved infant, although it would seem that he doesn’t have a power…

Bird has an affinity for 1950’s style nostalgia. While “The Incredibles” doesn’t have a defined era, a sense of late 50’s/early 60’s “mod” style is present in the designs of buildings, cars, wardrobes, hairstyles, and more. The color palette is fairly bright, which helps keep the mood a bit lighter when appropriate. The animation really pops in some of the action sequences and in certain effects. One of the remarkable things about this movie is Michael Giacchino’s stereotype-defying score. It’s the least likely superhero music, but the jazz-laden, squeal-trumpet-infested score is one of the best I have heard. It moves when it should, and it lightens up and steps aside when appropriate. It also makes the film feel like it belongs to a bygone time.

The core of this movie is really the notion of family and of coming together as a family in the face of a crisis. As clichéd as that might sound, it’s a skill that we all need at some point. The scenes of The Incredibles working together as a team hits my emotional soft spot every time. I really think that the idea of family being bigger than anything is the best thing that anyone – child or adult – can take away from this movie. It’s also a movie about admitting when you need help rather than taking on all of your burdens alone. When Bob realizes that he can’t do what he has to do alone and must rely on Helen and the kids, his vulnerability shines through, and therefore so does his humanity.

If you’ve been avoiding this movie, I encourage you to rent it. If you’re self-conscious about watching what you assume is a “kids’ movie” without a kid, I’ll rent one of my nephews out to you for a fee. In my estimation, this is the best superhero film that is not adapted from previously existing characters. I might even say it’s super.

Hitchcock’s How-To: The Birth of the Modern Spy Thriller

Roger: “Mr. Kaplan has dandruff.”

Mother: “In that case, I think we should leave immediately!”

Hitchcock has become a cinematic hero to me in my adult life. His body of work displays some remarkable diversity and extreme innovation on many levels. Such is certainly true of “North By Northwest,” the fourth and final collaboration between Hitchcock and film icon Cary Grant. NBNW is possibly Hitchcock’s least dark film, thanks in large part to Ernest Lehman’s script, which balances drama, humor, and romance in a masterful way. If you feel put off by the darkness or obsessive themes of “Vertigo” or “Psycho” or the horror theme of “The Birds,” then this may just be a good introduction for you to the master of suspense.

Grant is Roger O. Thornhill, a NYC advertising executive who has a highly dysfunctional relationship with his mother. When a simple gesture is misread in a restaurant, Thornhill is mistaken for another man and abducted. After a drunk driving incident, Thornhill is arrested and charged. The harder he tries to clear himself, the further he becomes ensnared in the complicated game of spy vs. spy that seemingly won’t let go of him. Nevertheless, Thornhill is determined to prove once and for all that he is NOT George Kaplan.

As a would-be composer, I would be completely remiss if I didn’t discuss how Bernard Herrmann’s score heightens the drama of this film. The heightened rhythm conveys the sense of urgency in the action sequences – save for the infamous cropdusting scene, which is fittingly without score. Equally fitting is the score used in the scenes between Grant and the exquisite Eva Marie Saint. Rather than overdo the music, where he could have flooded the sonic stream with rhapsodic melodies, Herrmann opts to add a touch of enhancement with a thinner texture. This is a great example of film scoring at its most optimal.

Watching this film reminds me of why Cary Grant is still so revered as a movie star. In NBNW, he exudes such charisma that it seems impossible to root against him. Who would want to, anyhow? Grant meets his match in the form of Eva Marie Saint, preserved here at the height of her beauty, and possessing incredible seductive powers. Her eyes seem to pop right off of the screen. In lesser roles, James Mason makes the most of his villainous turn, while Martin Landau is a suitable henchman. Jesse Royce Landis is comic gold as Thornhill’s sarcastic mother.

Hitchcock brings Lehman’s rich screenplay to even richer life in Technicolor. The production design is nothing short of meticulous. Every location practically becomes a major set piece, from Manhattan to a train to Chicago to a seemingly inconspicuous field to Mount Rushmore. Hitchcock isn’t afraid to indulge occasionally in unusual camera angles or dolly shots to more effectively tell the story. His sense of pacing here is always just right. If more action films were constructed like NBNW, we as a film audience might not let ourselves expect so little of them.

If you have never seen “North By Northwest,” I urge you to seek it out. I own it, and as always would gladly lend it to you. If you haven’t seen it in a while, remind yourself how fun and stimulating it is.

James Stewart for President

With our nation’s 234th birthday occurring last week, I felt compelled to rewatch “Mr. Smith Goes To Washington.” A fairly busy schedule on the 4th coupled with the advent of a new full-time job have delayed my viewing of this classic until this morning. I have seen this movie twice before, but it still stirs my soul.

If you haven’t seen it, stop reading immediately and watch it. If you live near me, I will gladly lend you my copy. If not, check amazon.com for a cheap DVD or even VHS.

Frank Capra’s 1939 tale of a simple man who is taken advantage of but fights back with a vengeance is a fine example of great acting from some of the best actors of the era, or any era, for that matter. Claude Rains, whose career covered numerous classic films, is wonderful as a senator of uncertain allegiance. His Senator Paine has a deep tie to Jefferson Smith(Jimmy Stewart)’s past. On the other side of the coin, he’s the main part of a political machine meant to benefit a corrupt profiteer (Edward Albert) from Paine’s home state. This could have been a very cliched villain, but Raines imbued him with a pitiable humanity. Jean Arthur is charming as Saunders, Mr. Smith’s secretary. I would imagine that this role was incredibly fun for her, as there is more than a hint of female independence in Saunders’ character, certainly more than one would be likely to see in any other movie of a similar era. Saunders starts out as a streetwise, cold, and selfish woman, but it’s lovely to see how Jefferson Smith cracks her tough shell with his honesty and blatant optimism. Many of the Capra regulars are present, and make much of their supporting roles. Beulah Bondi is once again mother to Stewart, and she effuses motherly love and pride. Thomas Mitchell, who would later play Uncle Billy alongside Stewart in It’s A Wonderful Life, is light-heartedly fun as Diz, a DC reporter who delights in seeing Smith screw up. An early scene with the governor of Smith’s home state being chided by his eight children for not considering Smith for the vacant Senate seat is wonderfully comical. Guy Kibbee as the governor breaks the dramatic tension often, displaying a rare gift for hilarity and great timing.

I could write for days about the greatness of Jimmy Stewart. We all know his trademark vocal inflections, but this man was a very open and real actor. His Jefferson Smith is polite, soft-spoken, earnest, completely uncynical, and as wide-eyed as they come. In this role, Stewart displays great emotional range throughout, ranging from great elation to being humbled to boiling over with passionate fervor. Seeing his sense of awe as he toured the major monuments of Washington reminded me how great America’s potential is. The first scene at the Lincoln Memorial is especially potent, somehow seamlessly painting a portrait of the USA of 1939 in a relatively short scene. If you’re not moved by this moment, you may not be American. By contrast, the filibuster scene is a rousing inspiration to me. Stewart’s commitment to the scene and to the stubbornness and the unshakable, incorruptible determination that Smith displays is nothing short of breathtaking.

This movie holds up so well partly because of the great writing. The dialogue is sharp, and well-delivered. The entire ensemble finds a very unified rhythm. They fire their lines back and forth like Old West gunslingers. The camera angles are quite ahead of their time. The dinner scene in the governor’s mansion and the filibuster scene are great examples of this striking cinematography.

“Mr. Smith Goes To Washington” reminds me of the aspects of being an American that seemed exciting to me as a child. As I watched attentively, I was struck by how the corruption portrayed here could easily happen today. The lengths that Senator Paine and the man that owns him go to in order to defame Smith is, to me, nauseating. I have no doubt, however, that even today there are Jefferson Smiths out there who will gather their courage and take a stand for the small and the weak when it would be easier to turn their heads. Maybe the result won’t be as dramatic as Stewart’s filibuster scene – after all, Capra isn’t around to stage it – but I hope and pray that they will do whatever it takes to try to champion the lost causes. After all, they’re the only ones worth fighting for.

I don’t enjoy political discussions. Somehow, someone is inevitably blamed for some great wrong.
Watching MSGTW made me long for some sort of attempt on the part of politicians to cross party lines and try to step beyond their own selfishness in order to accomplish something for the greater good. In the meantime, I’m dreaming of what America could still achieve…

Superman pajamas

Welcome to my blog! I’ve found that I enjoy writing about movies, superheroes, and science fiction/fantasy. This blog will cover all of those subjects. I find myself looking back at my childhood quite frequently these days, so I’m going to start at the beginning of my nerd existence.

I can’t say that I know the date. I imagine that it was late spring or early summer of 1979. My parents told me that we were going to go see Superman. Having never seen a movie on a big screen, I didn’t quite grasp the concept. Was he actually going to be there? No, my mom told me. It was like TV, but really big. My mom told me I could wear my Superman pajamas, which were a tiny replica of Supes’ costume, and my then-most prized possession. This was pretty exciting to my almost-four-year-old mind!

We saw “Superman” at the Skyline Drive-In, which was at that time the only movie theater in New Lexington, Ohio. I remember the anticipation brimming over inside of me as we found our spot and my dad grabbed the speaker and attached it to the window. The experience was truly overwhelming for me. I was in a state of euphoric excitement! The memory that sticks the most prominently in my mind is the scene where Clark Kent first pulls his dress shirt open, revealing the Superman logo for the very first time. There he stood, taller than most of the trees surrounding the drive-in. I had seen him on TV in the persona of George Reeves, thanks to the miracle of syndicated reruns. I had seen him in cartoon form, where he served as the unofficial leader of the Super Friends. But this – WOW. There he stood, flesh and Kryptonian blood, clad in an even more vivid rendition of his signature red, yellow, and blue. Even now, 31 years later, I can’t fully describe the feeling I had that night.

All of these years later, I still love that movie and rank it as one of my top 5 personal favorite movies of all time. Richard Donner got how Superman’s world could really work in film. He had a fantastic cast to help him bring it to life. From Brando as Jor-El to Hackman as Lex Luthor, to great actors in supporting roles like Jackie Cooper as Perry White and Glenn Ford as Jonathan Kent, the ensemble performs solidly throughout. But there would be no Superman without the charm, poise, confidence, and all-around skill of Christopher Reeve. To me, no one else could ever embody Superman so perfectly, while contrasting that embodiment with the nearly opposite personality of Clark Kent. It’s basically a perfect performance to me. The establishment of Krypton, Smallville, and finally Metropolis is executed with great thought and care, giving Superman and his supporting cast believable worlds to inhabit. While the story does defy a reasonable suspension of disbelief at times, particularly at its climax (let’s face it – it’s a movie about a nearly invulnerable man who can almost do anything, including move time itself backwards, it would seem!), I still defend it as one of the best comic book films ever made. Were it not for this movie, the superhero film adaptations that have followed would never have been made.

Much has been made through the years over the similarities between Superman and the Judeo-Christian Messiah. The beautiful thing about Richard Donner’s Superman is that Donner focuses on the sense of doing right by people that is a crucial part of the Superman mythos. The Man of Steel never called himself a savior. His moral Midwestern upbringing makes him want to help. He puts the good of the many ahead of his own needs. He’s honest to a fault, kind, and not the least bit cynical. Donner’s direction, along with Reeve’s masterful method approach to the character, have provided this fanboy with a very definitive version of a uniquely iconic hero.

A little over a year later, I had the opportunity to see the movie again. This seems like a funny thing to say in this age of Blu-Ray and downloads. My kindergarten mate and lifelong friend David Lanning had this crazy channel called HBO. My TV only got three channels. Apparently this HBO showed movies without commercials. David invited me over to watch Superman. I remember plopping down on his living room floor. As the London Symphony Orchestra brought John Williams’ optimistic overture to its clarion trumpet-driven crescendoed climax, the skin on my arm felt a tidal wave of goose flesh. I still get a touch of that when I hear that music, even after all of these years. The movie became an annual fixture on network TV soon after that, and I believe that I saw every airing. It became a tradition for me.

The tagline of Superman: The Movie when it first came out in 1978 was “You will believe (that) a man can fly.” I did, and I still do. Superman is real. He flies around the eclectic world of my inagination, and he looks exactly like Christopher Reeve circa 1978.