As some critics have already noticed, the latest Superman-franchise has more Christian parables than any of them before. But it's also the most obvious gay-adaptation of the myth, and in a very good way.
The Nolan&Snyder-version is the first movie version of Superman that emphasizes the character is super_sensitive_. The supernatural _powers_ are in minimal use before the final half an hour of the movie, and you can easily see that the "last battle" is so long (as a matter of routine) just to fulfill the expectations of the superhero genre -audience. If you cut out the first and last 30 minutes of the film, you'd get quite super Superman-movie.
The latest Superman is hardly first one with dazzlingly beautiful face, but this time we see him also in many other "role clothes" than his blueboy uniform, accentuating both the old fashion masculinity _and_ the gender role play. This Superman is actually the first one whose story is a strong "coming out" -story and whose secret is a "beautiful truth", as his mother confesses in the last part of the film.
This subtle way of adaptation is the reason why I liked especially the pasolinian moments (levitation scene from "Teorema", desert-scene from "The Gospel..") that director Snyder has used to stress what kind of messiah we have this time, and also the reconciliation between gay hero and US army.
The Nolan&Snyder-version is the first movie version of Superman that emphasizes the character is super_sensitive_. The supernatural _powers_ are in minimal use before the final half an hour of the movie, and you can easily see that the "last battle" is so long (as a matter of routine) just to fulfill the expectations of the superhero genre -audience. If you cut out the first and last 30 minutes of the film, you'd get quite super Superman-movie.
The latest Superman is hardly first one with dazzlingly beautiful face, but this time we see him also in many other "role clothes" than his blueboy uniform, accentuating both the old fashion masculinity _and_ the gender role play. This Superman is actually the first one whose story is a strong "coming out" -story and whose secret is a "beautiful truth", as his mother confesses in the last part of the film.
This subtle way of adaptation is the reason why I liked especially the pasolinian moments (levitation scene from "Teorema", desert-scene from "The Gospel..") that director Snyder has used to stress what kind of messiah we have this time, and also the reconciliation between gay hero and US army.