![]() ![]() ![]() She loves his inner self, in other words, what is is beneath his coat, but hates his outward self. Outside these movies, from their very beginning, Superman has always been about two themes: the first theme is the two-sided love triangle between Clark Kent, the meek and mild-mannered farm-bred boy literally from Smallville, Lois Lane the spunky and attractive big-city reporter girl, and Superman, who is dressed like a Circus strongman, complete with cape and tights.Ĭlark loves Lois who loves Superman, but Clark is Superman. When Lois Lane dies a grisly and protracted death, literally being buried alive, figuratively being put in her grave, Superman defies his heavenly father, literally seen as a giant face in the sky forbidding him from changing human history, figuratively forbidding him to change fate, and, as in many a myth involving Hercules in the Underworld, the superhuman disobeys cruel fate to bring the maiden free from death, because he loves her - showing that love is stronger than death. Note that the first movie argued the opposite point. The moral of the movie reverses this choice once Superman learns duty to serve mankind is greater than love or death. In this scene, the superhuman becomes mortal - that is, accepts humanity and hence accepts death - in order to wed his true love - that is, for sex. Klavan complains that Superhero movies do not deal with Love and Death, Eros and Thanos, and then uses, as his example, a scene from the second Superman movie that contradicts his point. Andrew Klavan quotes a Larry Niven article, and makes a few observations about the love life of Superman. ![]()
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