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Jor-El and Lara have obviously made preparations for just such an eventuality, and they kiss their baby goodbye and place him in a space pod, but not before they place the glowing skull over him and he is bathed in an effulgent light.
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Jor-El is initially taken prisoner by Zod's cohorts, but he of course escapes and then steals a magically glowing skull like object and makes his way to his wife Lara (Ayelet Zurer), who has just given birth to little Kal-El. Jor-El and Zod obviously have a history, but Zod is impervious to Jor-El's pleas to not resort to violence. Jor-El isn't getting through to these supposedly wise elders, but even his attempts are brought to a crashing halt when the meeting is interrupted by General Zod (Michael Shannon), who bursts in and attempts to instigate a coup.Ī longish set of affairs on Krypton ensues, where we are given a cursory glance at Krypton's culture, which turns out to be a dystopian alien version of elements from Children of Men.
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Man of Steel starts out with a viscerally exciting sequence taking place in the waning hours of Krypton's existence, as Jor-El (Russell Crowe) tries to talk some sense into Krypton's ruling council, which has led to the impending destruction of the planet. Origin films have become all the rage in the superhero universe, and it's obvious from virtually the first moment of Man of Steel that the creative staff wanted to take that same approach here while at the same time tweaking the general way origin stories are typically presented. What is left, then, is a frequently visually dazzling film that has little of the emotional content that helped to drive the Nolan Batman offerings. Perhaps the "true blue" and ironically "black and white" world of Superman, where there are no shades of gray and the hero is ostensibly not as tormented as one Bruce Wayne, doesn't lend itself to the same sort of post-modern reinvention that invigorated the latest Batman offerings. Whether or not all of this backstage drama contributed to Man of Steel's slightly disjointed feeling may be debatable, but the film never quite manages to capture the visceral intensity of the Christopher Nolan's Batman reboot, The Dark Knight Trilogy (Nolan produced Man of Steel). And yet it's been Superman who has been the subject of manifold dysfunctions in the "real world" for at least the past several years, as the heirs to the character's creators have fought with various entities to try to reclaim some of the vast amounts of loot that those selfsame entities have raked in over the years based at least partially on the work of Jerry Siegel and Joe Shuster. After all, he was traumatized by seeing his parents killed right before his very eyes as a little boy, and in his original story he seemed to be a midnight vigilante barely able to control his more violent instincts. Batman might seem to be the DC hero most likely to be involved in a soap opera.