THE PUZO TREATMENTS

Mario Puzo submitted his initial treatment for "Superman" in June 1975, followed by a second draft in October 1975. Based on his speedy delivery of the screenplay, the Salkinds set a tentative start date of November 1975 for production. Because many elements of the film were not yet set in stone, this would become an impossible date to make. One essential element needed was the choice of a director, and at that time "Superman" did not have a director attached to the film. Many directors of the time - including William Friedkin, Francis Ford Coppola, Robert Aldrich, Norman Jewison, Arthur Hiller, and the up-and-coming Steven Spielberg - were mentioned as possible candidates, but many of them were either deeply involved in other projects or simply did not want to get involved. Fortunately, Guy Hamilton agreed to sign on and get the ball rolling. His influence on the project would last until late 1976.

Puzo's first draft screenplay, followed by his second draft, posed initial problems in and of themselves. While Puzo remained faithful to the comics origins of Superman, his scope was long and detailed. Stated Ilya Salkind, "The main problem, though, was the considerable length. It was over 300 pages long - it would have made a six-hour movie! Quite honestly, it was more a novel than a screenplay." Epic indeed.

Puzo's script remained faithful to the original comics material, while including new elements. Most notable of his epic qualities were his descriptions of Krypton and the central city (then called Kryptonopolis in the initial draft), which served as the model for what was seen in the final film. Puzo's notes for Krypton stated:
"...(it may sound) expensive, but the city will make at least four or five appearances through the film and justify the cost. ..."

But Puzo's respect for the original Superman comics carried into the campy elements of the story. This campiness was evident in the descriptions of the renegades who were banished by Jor-El and who returned to fight Superman by story's climax. In addition to General Zod (modeled after his comic-book counterpart), Puzo's renegades included Jax-Ur, Professor Vakox, and Kru-El, also lifted directly from the comics. They would serve to inspire the later characters of Non, Ursa, and Jak-El.
Another element of science fiction and campiness is evident early on in the description of the Council of Elders. As described in Puzo's script:
"...(each of the Elders should wear) the futuristic letter 'S' imprinted on their clothes, as does Jor-El. There should also be a huge futuristic letter 'S' design on the Council Chamber."
What the design of the "S" symbol represented at this early point remains to this day unclear and debated, most likely as a type of family crest. Had this idea been carried through to final filming, it would have robbed the Council members of any individuality. In the final film, each Council member bore the logo of their family crest on their clothes.

Puzo's most innovative idea was one that was not only faithful to the comics but could have saved the Salkinds the then-record $3.7 million paid to Marlon Brando, along with the millions more in eventual lawsuit problems. As seen in the Puzo script:
"...(the character of) Jor-El should be played by the same actor as Superman. Since he is Superman's father, this will seem natural. It also gives the star a chance to come into the film right away, rather than wait till we are half an hour into the film."

Puzo's inspiration evolved from the then-comics appearance of Jor-El as physically resembling Superman in looks, height, and age. Had Puzo's suggestion been carried through, this would have provided Christopher Reeve the opportunity to turn his breakthrough dual role into a triple - as Superman, Clark Kent, and his father Jor-El! Cost-cutting measures, indeed. But Puzo's involvement in the "Superman" project carried a high price.
Most film and some television productions have comics adaptations and novelizations written to present the film story in an easy-to-read manner. At the time prior to the film's release, an adaptation of the "Superman" script was prepared in paperback novel form by writer Anthony Cleary. Warner Books prepared mock-ups of the novelization for bookstores, along with its "Making of Superman: The Movie" paperback by David Michael Petrou. DC Comics had also considered an official comics adaptation, and in an effective crossover campaign, many of its early 1978 comics carried an interior promotional advertisement with the "Superman: The Movie" film logo and the banner "Coming For Christmas".
Contests were prepared, special reports on the making of the film were written as comics inserts, and everything looked exciting. Or so it seemed.

Puzo's clause in his contract stated that should any complete adaptation of his "Superman" material appear in printed form, without his permission or blessings, he would be granted a huge legal stipend. While the contests and the "Making of Superman" projects would continue, this would lay to rest both the Anthony Cleary novelization and the DC Comics adapation. Frantic to get any film-related products on the market in time for the film, Warner Books commissioned DC Comics writer/editor Elliott S. Maggin to write an original novel "Superman: Last Son of Krypton". DC Comics also prepared a giant film magazine on the making of the movie, as well as an inspired comics miniseries, "The World of Krypton", about the life of Jor-El.

By late 1975 Mario Puzo had grown tired of his involvement with the "Superman" film project and longed to pursue other projects. He made the suggestion to the Salkinds to bring in other writers to clean up the script.

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