There are few things sadder than the unmistakable chill of a craze gone cold. The first two Superman movies captured the imagination of the movie-going public and made a star out of the likable leading man, Christopher Reeve. The excitement was already cooling when Superman III appeared, awkwardly tailored to incorporate Richard Pryor.
Reeve has long since hung up his cape, but those industrious producers of the series, the Salkind family, insist on going to the well at least one more time. Yes, it’s Supergirl, the Man of Steel’s feminine counterpart—also a longtime DC Comics character—but this time out, the thrill is gone. And, apparently, not too many people care.
The Salkinds went back to the formula that made the original Superman such a delight: an unknown player as the hero, a big-star villain, a largely comic tone, and the fate of the world hanging in the balance.
Some of these elements actually work. Helen Slater, making her film debut in the title role, is quite adorable. She shares Reeve’s ability to communicate goodness without making it seem yucky. But she doesn’t always hold the screen too well against her fellow actors—one of whom is Faye Dunaway, the villain who has a hunger for “total world domination,” as she demurely puts it.
She gets her chance. In the undersea community of Argo, Kara (Slater) asks the great Zaltar (Peter O’Toole) what a certain funny round ball is all about. Zaltar explains that the glowing orb is the power source for the whole society (at least, I think that’s what he says—the sound went out at this point when I saw the movie). Kara accidentally lets the ball slip through the Saran Wrap covering of the planet. She goes to the Earth’s surface to retrieve it.
This little doohickey happens to land in Dunaway’s lunch. She’s a witch, picnicking in the vicinity. Sensing (correctly) that it may instill her with ultimate power, she grabs the thing and heads back to her lair, in an old amusement park, and starts doing nasty things to people.
Meanwhile, Kara enrolls in a local girls’ school, claiming to be the cousin of Clark Kent. As luck would have it, Dunaway is often on the scene, and the two lock horns when the witch flexes her magical muscles by trying to make the campus hunk (Hart Bochner) fall in love with her. Instead, he loves Supergirl, and Dunaway starts twitching those magnificent eyebrows and flaring those unforgettable nostrils.
I wish this had been more fun, but the fact is, Supergirl is without style or wit. The early scenes are rushed—there’s none of the lovely myth-making of Superman—and the action is just plain silly. Superman was funny, but when the chips were down, you (admit it) cared about what was going to happen next. That never happens here.
Director Jeannot Szwarc, of Jaws 2 fame, used to be a pretty decent television director—he made many episodes of “Night Gallery” and “Columbo”—and he still is a decent television director. The good news is, he probably won’t be allowed near another Super… project (if there is ever another one). The bad news is he’s already filmed Santa Claus, another legend cinematized by the Salkinds.
The big S and the red cape may be retired for good with this one. On opening night of Supergirl, the thundering music and traditional stormy credit-roll were greeted by a half-empty theater. Nobody seemed excited in the way they did when the Superman movies opened. Regardless of what you think of Supergirl, that’s a little sad.
First published in the Herald, November 24, 1984
Obviously Reeve would later climb back into the role, but the proposed Supergirl franchise was not to be. Szwarc had his big-screen shot, then returned to television, where he is still crankin’ ’em out. He did only one “Columbo,” according to IMDb.com (the one with Vera Miles), but many a “Night Gallery” and other series fare.