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x5red · 5 years

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The lost Supergirl

To its detractors the 1984 Helen Slater Supergirl is an underwhelming, disjointed, and self-contradictory attempt to profit from the Superman franchise beyond the Man of Steel. To its supporters the 1984 Supergirl is a much misunderstood blending of super-heroics and fairy-tales, creating a magical story of adventure and courage. But no matter what your take on this movie, no one can deny that it failed to meet box office expectations and did not garner anything like the same reputation as Chris Reeve’s first two iconic Superman outings.

But with the passing of time comicbook fans seem to have slowly mellowed towards Slater’s Supergirl. Sure, it may never be considered a classic, but many fans now acknowledge that Helen Slater’s time in the red cape has a lot of charming qualities, qualities that are sadly lacking in many of DC’s modern offerings.

So, what caused this shift in attitudes?

Well, thanks to the internet, today’s fans have a greater awareness of the intentions of director Jeannot Szwarc, who (we now recognise) was pitching at a younger audience than the Superman movies -- hence the looser fairy-tale quality of the plot. But, more importantly, there’s also a growing awareness that many of the movie’s weaknesses were made far more glaring by the distributor’s brutal editing for US markets.

As more and more of the cutting room floor footage has been seen, so criticism has softened. Although still far from perfect, 2000′s extended 138 minute cut is generally recognised as a more balanced and coherent experience than 1984′s US theatrical version of just 105 minutes. But fans have speculated that yet more footage is still to be found. Rumours circulate on the far flung reaches of the internet concerning a possible 150 minute edit, smoothing over even more of the disjointed elements of the story.

In this article I want to first attempt a fact-packed recap of the editing history of the Supergirl movie, noting when and why its numerous cuts were created; then I want to briefly speculate on what might be in the still-missing 12 minutes (if indeed they exist), by pulling together the various rumours and looking at their evidence.

So, let’s begin...

From silver screen to small screen

Supergirl got its debut in London on Thursday 19th July 1984, as part of a Royal Charity Premiere screening attended by Princess Michael of Kent (whose husband is the current Queen’s first cousin, as I’m sure everyone knows(!)) This UK version was distributed by Columbia-EMI-Warner and ran at 124 minutes. Initial critical reaction was mixed, leaning more towards underwhelmed.

As US fans waited for the Maid of Might to fly onto their cinema screens, the movie began to open around the world. Ireland and Japan got Supergirl just days after the UK, then August saw Supergirl open in the Philippines, Australia, and Spain. In October it was the turn of France and Canada. Meanwhile Kara Zor-El fans in her (adopted) home country had no choice but to wait... and wait... and wait... The delay in the US release was caused by Warner Bros. dropping out of negotiations to promote and distribute the film in US theatres midway through production. As the movie was in post production, and overseas distribution deals were being struck, the Salkind family (the producers) scrambled to find an alternative distributor for their biggest market.

Finally, on Wednesday 21st November 1984, the Maid of Might launched onto US screens thanks to TriStar Pictures, but the switch in distributor had not been without major consequences. American Supergirl fans were treated to an experience that had been cut down to just 105 minutes, removing key exposition scenes from a movie that was already criticised for struggling with plot coherence. Supergirl grossed $5.7m on its opening weekend, and went on bring in $13.6m in the US market. On an estimated production budget of $35m, it was not considered a success.

At the same time as the US theatrical release, a 125 minute LaserDisc version appeared in Japan, marking the first time fans could watch the Girl of Steel in the comfort of their own Fortress of Solitude. The advertised 125 minute running time likely represents a rounding error rather than 1 minute of new material. Although not sold into US markets, some copies apparently did cross the Pacific. The LaserDisc version was likely a pan-and-scan copy (no documentation suggests widescreen), with Supergirl’s wide cinematic 2.35:1 image cropped drastically to fit television’s nearly square 4:3 ratio.

Pan-and-scan would also have been done to the initial VHS release into US markets by U.S.A. Home Video in 1985, which used the 105 minute cut that had appeared in US cinemas the year before. In 1987 a second pan-and-scan edit was created by TriStar for HBO‘s cable tv screenings, which was then used by the ABC Network when it broadcast a brutal 92 minute cut in February 1987. (It was common practice for ad-supported tv to heavily edit movies, making space for commercials without stretching the running time too far.) This super-slimline cut was later thrown together with other Superman movies into a tv syndication package by Viacom. The Internet Movie Database suggests that there was also a VHS cut that ran to just 89 minutes -- this may have been either the Avid Home Video release (1991) catalogued on the same site, or it may refer to an unknown overseas VHS release.

Lurking in the depths of the vaults

By the late 1990s the full 124 minute cut of Supergirl had still never been legitimately made available in the US. The rights to the Supergirl movie had subsequently been snapped up as part of a bundle of films by Canal + Distribution in France, and they allowed Anchor Bay Entertainment to release the two hour so-called International Cut on VHS. Many Supergirl fans now thought that they, at last(!), had copies of the most complete version of the film. But rumours quickly started to circulate that this was far from the case.

Not long after the International Cut’s release, speculation began that Canal + had found something interesting lurking amidst the dusty film cans they’d acquired as part of their rights acquisitions. A previously unknown 138 minute cut of Supergirl featuring a mono soundtrack had been unearthed, which quickly acquired the moniker of the Director’s Cut.

(Note: one citation-free internet comment suggests that the Director’s Cut was actually discovered at Pinewood Studios, in a box marked “do not use”. Although the early Superman / Supergirl movies were filmed at London’s Pinewood soundstages, it seems odd that a finished edit of the film, complete with soundtrack, would be discovered there.)

In mid-2000 Anchor Bay Entertainment released a two disc DVD set featuring both the 124 minute International Cut, and the new 138 minute Director’s Cut, both in widescreen format (2.35:1 letter-boxed to widescreen tv’s 16:9 ratio.)

So, thought fans, surely this is the definitive Helen Slater Supergirl... right..!?

Well, apparently, no..!

The rumours didn’t end with the Director’s Cut. Some evidence suggested that there were still scenes shot at Pinewood that didn’t make it into the 138 minute edit. Speculation was that somewhere in a rusting film can there might lie yet another 12 minutes of unseen footage, bringing the total running time of the film to a whopping 150 minutes -- that’s almost 50% more Supergirl than was seen by the original US theatrical audiences in November 1984.

So, what’s missing..?

First, let us rule out what we can say with certainty is not in any potential missing footage.

The original script for Supergirl, penned by David Odell, made heavy use of Christopher Reeve’s Superman. According to director, Jeannot Szwarc, the main plot device always revolved around the recovery of the Omegahedron, but in early drafts Superman was to encounter Supergirl in space, and the pair were to share a heartwarming scene in which he teaches his cousin how to fly, involving dancing together in mid-air. At a later point in the script Supergirl was to rescue Superman from a prison, where he languished as an old man having lost his immorality.

Regrettably, the producer’s hopes of securing Chris Reeve fell apart not long before shooting began. Without Reeve, Odell’s script (which, Szwarc claims, had already suffered numerous rewrites at the behest of the Salkinds and/or original distributors Warner Bros.) underwent yet another a major overhaul. As such, we can say with absolute certainty that none of the possible missing footage includes Christopher Reeve’s Superman.

So what might it contain?

A draft of the movie’s script, dated Monday 17th January 1983, is available online, and it seems to mention scenes that never appeared in any publicly available cut of the film, including the Director’s Cut. The draft’s date is just a few weeks away from the alleged filming dates: Monday 18th April 1983 to Thursday 11th August 1983. The script does follow the story line of the finished movie, although it is apparent that some action segments have been reworked and some of the dialogue is only vaguely similar to the filmed version.

A second source of information comes from an apparently test audience viewing in the US, with online accounts of this screening at sites like IMDB seeming to bear out the rumours that some of the elements in the draft script may have been filmed and included in this screening.

Speculation suggests that a number of clips featuring Selena are still lost. These include more material with Selena and the Omegahedron, and a clip during Selena’s takeover of Midvale in which the angry townspeople are cowered (except Lucy) by Selena when she uses an ice spell to kill a woman.

There’s also speculation that two short interactions with Linda at school are absent. The first involves Nigel quizzing Linda about her plans for the weekend (this happens immediately before the scene, 50 minutes in, with Linda sitting outside the school as other girls leave with their parents, when Lucy invites Linda to join her later in Midvale.) The second is a chat between Linda and Lucy about clothes and fitting in on Earth.

One interaction that always seemed a bit odd in the movie takes place immediately after the shower sequence (when Kara uses her heat vision to punish the two school bullies.) Entering their shared dorm room, Linda asks Lucy to comment on her new hairdo -- Lucy replies that it looks the same as before. In the script however (and in accounts of the advance screening) there is a segment with Supergirl using heat vision and a bathroom mirror to cut her blonde hair, but she forgets that she has reverted to Linda’s brunette wig when Lucy offers her critique. The second half of this interaction appears in the movie (albeit with different dialogue to the script), so fans have speculated that the laser haircut footage may exist too.

The January 1983 script also does a better job of tidying up the story’s loose ends. For example, rather than have Linda Lee just vanish without explanation, school principal (Fred?) Danvers uncovers Linda’s secret identity after she fights the energy monster, explaining why he won’t be frantically searching for her once Supergirl returns to Argo City. No accounts, rumoured or otherwise, suggest that these segments were filmed, however.

Conclusion

Even at 150 miniutes, Supergirl would still be a flawed movie. But then perhaps, as Jeannot Szwarc has noted, its intentions were never properly understood or promoted. The film isn’t trying to be the Christopher Reeve Superman, but rather a children’s fairy-tale in which the hero uses Kryptonian superpowers instead of magic. One internet commentator noted that Slater’s Supergirl is best enjoyed as a series of unconnected vignettes -- forget that the overall plot doesn’t make sense and just enjoy each scene on its own. I think there might be some truth in that analysis.

Despite its flaws, the 1984 Supergirl movie has amassed a loyal fanbase. The special effects are superb (even Richard Donner apparently admitted that the technique Szwarc used to make his Girl of Steel fly was superior to the zooming-lenses trick pioneered on Superman), the story is unapologetically lighthearted, and Helen Slater’s endearing portrayal as the Maid of Might is still considered by many to be the definitive live-action Supergirl.

Restoring the extra footage won’t overturn the movie’s shortcomings, but it will further soothe some of its inconsistencies, while sprinkling just a little more magic dust onto what its loyal fans already consider to be a charming and bewitching cinematic experience.

The movie’s heroine succeeds in her quest to find the Omegahedron and restore Argo City to its former glory -- we can but hope that one day her fans will find any missing footage, and restore her movie to its fullest length.

Timeline:

124 min (2h 04m) international theatrical release, July 1984.

105 min (1h 45m) US theatrical release, November 1984.

125 min (2h 05m) Japanese LaserDisc, late 1984.

105 min (1h 45m) initial US VHS release, 1985.

92 min (1h 32m) HBO / ABC television cut, 1987.

89 min (1h 29m) VHS release, unknown date (1991 perhaps?)

124 min (1h 04m) Anchor Bay VHS release, 1998.

138 min (2 hrs 18 mins) Director’s Cut DVD release, Summer 2000.

150 min (2 hrs 30 mins) speculated original cut, as yet undiscovered.

Sources:

imdb.com : Supergirl main page.

imdb.com : Supergirl alternative footage.

movie-censorship.com : Supergirl International vs Director’s Cut.

supermancinema.co.uk : List of VHS and tv cuts.

maidofmight.net : Director Jeannot Szwarc interview.

Thanks to Corrine, aka supergirldiaries, for the initial inspiration.

#supergirl #dceu #comics #movies #dccomics #dc #precrisis #superhero #superheroine #superman #helen slater

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helloworlddemo1122-yahoopar-blog · 7 years

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EXCLUSIVE: ‘Selena’ Turns 20! Her Family Reflects on the Movie and Her Legacy: 'In My Mind, She's Still Alive'

brightcove

“Anything for Selenas!”

It’s been 20 years since Jennifer Lopez rose to fame playing the role of Tejano superstar Selena Quintanilla in the singer's posthumous biopic, Selena. To honor the occasion, ET visited Selena’s hometown, Corpus Christi, Texas, to commemorate the film’s anniversary and speak with her father, Abraham, and sister, Suzette. ET was exclusively with the Quintanillas at the family’s Selena Museum as they reflected on the iconic movie and paid tribute to the beloved entertainer, daughter and sister they lost too soon.

NEWS: Selena Remembered 20 Years Later: Watch Previously Unseen Home Videos

“I wanted the world to know about my kids, and my daughter,” Abraham, 78, explained of his decision to make a movie about Selena’s life not long after her 1995 death. Abraham served as the film’s executive producer and had creative control over every aspect, from the script to casting.

Suzette, 49, added that it was crucial the family had a strong say in production, insisting Selena be portrayed “in the right light, in the right way,” noting it was particularly important that “everything was based on our life, the true way.”

After a nationwide search, a then-27-year-old Lopez landed the coveted role. Soon after, she moved in with Suzette to prepare. The family remembers being awestruck the first time they saw the actress in full hair and makeup. “I said, ‘Wow!’’ Abraham exclaimed.

“She gave me chills… I literally, for a split second, I thought it was my sister,” Suzette recalled.

NEWS: Selena Quintanilla Has Her Own Wax Figure at Madame Tussauds!

Abraham and Suzette also deciphered Selena fact from fiction, clarifying the accuracy of some of the film’s most memorable moments.

Unfortunately, Selena’s mother, Marcella, never taught her how to dance “the washing machine.” That never happened. However, Abraham was truly shocked the first time he saw his daughter perform in a bustier.

Two gentlemen actually did try to pull the band’s tour bus out of a ditch with their convertible – and yes, they ultimately coined the phrase, “Anything for Selenas!”

And yes, Selena and her husband, Chris Perez, were first outed as a couple after Abraham caught them flirting on the bus. Abraham explained why he was initially enraged about the pair’s relationship, saying, “You have to understand my point of view, how I see things. I didn’t know Chris that well. What if he was a macho type, a machista, because there have been incidents, like they get married and say, ‘Well, you’re not going to sing no more.’ And all the work, all the sacrifices that we’ve done, will go down the tube.”

But it was the couple’s elopement that Abraham had difficulty integrating into the movie. He initially requested the scene be removed from the script after he read it because, “Selena has a lot of young girls as fans and I don’t want them to think that that’s the right thing to do.”

Looking back, the father-of-three says he wishes he had handled Selena’s relationship with Chris differently. “I feel bad that I was over-strict, too strict, that I put her in that situation where [she felt she had to elope].”

One might assume it was a difficult decision to include Selena’s death in the film, but her family said they never gave it a second thought. “It was a true happening. She was killed. We didn’t go into details, but we did show what happened to her,” Abraham said. Echoing her father’s sentiments, Suzette added, “I think it was done tastefully. It’s definitely a hard thing to watch.”

To this day, Abraham has only seen the ending of Selena once, during a screening with executives from Warner Bros. before the film’s release.

NEWS: Selena to Receive Star on Hollywood Walk of Fame 22 Years After Her Death

For the Quintanillas, the most difficult challenge is undoubtedly coping with the loss of their beloved Selena.

“We’re programmed emotionally and spiritually to accept that the older folks go first, but when your child goes first, it’s a different kind of pain,” Abraham lamented. “In my mind, she’s still alive, because you get involved with all her things and doing things for her every day that sometimes I forget that she’s not here with us anymore. So in a sort of way, it’s hard to explain, in my mind, she’s alive.”

Suzette said she is still plagued by anger when she thinks about how her sister’s life was taken when she was just 23 years old. “Clearly, yeah there’s anger… We do not speak of the person that took her life. We do not give focus to that person at all. It’s all about Selena in our heart... one day she’ll be resurrected and we’ll see her again.”

Ultimately, the Quintanillas want Selena to be remembered as a “giving person” with a “sweet personality” who was “always happy.” 22 years after her passing, it’s safe to say, their mission has been accomplished.

brightcove

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