A BRIEF RECAP:

One of the most enjoyable aspects of "Superman II" is the six-minute opening title sequence recapping events from the first movie. For many film fans and for returning filmgoers, it served its purpose as a "highlights" reel of memorable moments from the first "Superman" film.
This sequence was written and specifically prepared during the writing of the script, so filmgoers would be reminded that "Superman II" would in fact be a true continuation of the first story. And like the genesis
of its predecessor, "Superman II" has its origins during the early 1970's.

On a street in Paris in 1973, a young film producer named Ilya Salkind a big-budget screen adaptation of the comic-book adventures of Superman.He persuaded his father Alexander Salkind and their friend Pierre Spengler to buy the film rights to the character. Because of the success of their films "The Three Musketeers" and its ready-made sequel "The Four Musketeers", this provided the Salkinds with the leverage they needed in Hollywood to produce a film version of the popular comics character. Salkind hoped to avoid the problems he encountered during filming of the "Musketeers" project. He, Spengler, and director Richard Lester had produced so much footage for the movie that with the snip of a pair of scissors, "The Four Musketeers" was in the can. This infuriated the film's cast, who were paid for only one film when two were produced and were not informed of the decision. A number of controversial lawsuits were brought to court against the Salkinds for financial compensation for their work on "The Four Musketeers". This led to what became known as the Salkind clause which states how many pictures the stars, producers, directors, and writers would be working on, to avoid any confusion and to result in adequate compensation for the work.

Once Mario Puzo entered the project in 1974-75 and submitted two treatments for the film, Salkind announced that they would produce two separate "Superman" projects simultaneously with two separate scripts, which would hopefully avoid similar legal problems raised from the "Musketeers" project. Little did anyone realize that legal actions would soon result with the Salkinds and last well into the 1980's.

Puzo's commitment to epic storytelling and character development, as well as his faithfulness to the comics legend, resulted in a 300-plus page script for "Superman" and "Superman II". Even in his early drafts Puzo envisioned an epic battle between the Man of Steel and renegades from Krypton, as well as his developing relationship with Lois Lane. This would serve as the path for the final filmed product.

When Puzo departed the project, David Newman, Leslie Newman, and Robert Benton took over and delivered in July 1976 a 245-page treatment that further developed the two-part story. From this treatment would two films be produced. Unlike the Puzo drafts, which were epic and austere, the Newman-Benton script was riddled with camp quality humor and jokes. At this point Guy Hamilton was set to direct the project. When the Salkinds moved the project to Pinewood Studios in London, Guy Hamilton departed for the time being. Richard Donner, hot off the success of "The Omen", was brought in to direct, and with his friend Tom Mankiewicz they delivered two final treatments for the films in April 1977 (Filming had already started in late March. Further tweaking to both scripts during the filming process). Their focus and commitment to verisimilitude resulted in a straight, faithful project that treated the comics property with respect.

During production of the two films through 1977 and into 1978, the Salkinds and Donner had conflicting views on how the films should progress, as well as conflicts over the films' shooting schedule and escalating budgets. While both parties wanted to view the project as being done right, the Salkinds wanted to infuse camp humor, while Donner insisted in the realistic approach. This became apparent as many of the films' stars - particularly Marlon Brando, Gene Hackman, Christopher Reeve, and Margot Kidder - sided with Donner and his vision of the "Superman" property. To ease mounting tensions on the set, Salkind brought in Richard Lester to serve as an intermediary between him and Donner. Though Lester's unofficial title was "associate producer", he refused to accept any credit on the first film and vowed not to interfere in Donner's direction on the set. This resulted in a mutual rapport between Donner and Lester. Yet it was Lester's recommendation that Donner halt all work on "Superman II" to focus on completing the first film that saved the films from disaster. Both Donner and Salkind enthusiastically agreed, and by that time some 75 - 85 percent of "Superman II" had already been shot and in the can. But did Richard Lester create more problems than he solved with this decision?

When "Superman" was released on December 15, 1978, audiences and critics alike praised the film for its epic treatment and its commitment to treating the comics legend straight, as well as giving high praise for
Christopher Reeve's portrayal of a most human Man of Steel. At the close of the film, the final credit simply read "Next Year - Superman II". Audiences rejoiced that the story would indeed continue, and cast and crew eagerly anticipated their reunion in fall 1979 to complete filming on the second film. Little did anyone realize that the problems were only beginning, and those problems would greatly affect and alter the tone of the sequel's screenplay and production.

To further examine the problems that resulted in the production and its eventual product, let us examine the various concepts of the "Superman II" screenplay and their basis in the final product. Along the way I
will address some major controversies that have arisen from Donner's filmed product, the final theatrical version, and the extended television version.