It's interesting. I don't think any Tom Welling fans were offended when Williams's Superman theme burst forth in full-throated glory in Smallville's closing moments, rather than original music created for the show. Instead, it was perceived as a thrilling, triumphant affirmation. I feel like Cavill fans are uniquely sensitive to any perceived slight toward his version -- perhaps understandable, given how much criticism it received, and how much of that criticism was framed as unfavorable comparisons to Reeve. But I don't think linking him more fully to the character's 85-year legacy has to be seen as a negative. Quite the contrary.
Yes, exactly. Different franchises have different traditions. The tradition for Bond is to use the original theme. But for most of Superman's screen history, the tradition was to use a variety of different themes in the heroic-march template codified by Sammy Timberg at the very beginning. Williams's own theme was an homage to those that came before it. Smallville is a mixed case. In its early seasons, Mark Snow scored it with the same kind of whiny, non-melodic atmospheric droning he used on The X-Files, which I really disliked. The lack of a distinct original theme for Clark in that show was quite disappointing to me, and so it was also disappointing when Snow just started quoting the Reeve theme from time to time instead of putting in the effort to write a real theme of his own. It just seemed lazy, mere imitation rather than creativity. And it was hugely incongruous to go from his usual atmospherics to something as lushly melodic as the Williams theme. In later seasons, Louis Febre took over as Smallville's composer, and he brought a more melodic style to the music -- including a distinct heroic leitmotif for Clark in the tradition of Superman themes, which I rather liked. So I preferred it when Febre used his own Clark theme. To me, the one has nothing to do with the other. You're talking about musical themes as if they belong to the actors, but they belong to the composers. What I want is for composers to be creative rather than just copying their predecessors' work. Timberg, Klatzkin, Williams, Jones, Kiner, Gruska, Walker, Febre, Zimmer, Blake Neely, and others have all come up with their own distinct Superman (or Superboy/Clark Kent) themes, similar in melody and style but distinct creations of their own. (I could also throw in the excellent Supergirl themes contributed by Jerry Goldsmith and Neely.) I want to see that tradition of creativity and innovation continue, rather than be replaced by repetition and the mistaking of familiarity for quality.
Yet you referred to the Williams theme as "the Reeve theme" elsewhere in your post. Like it or not, the themes do become linked to the actors in people's minds, at least to a degree, and even if subconsciously -- though, again, I think it's also the case that Williams's theme has become the overarching, default Superman theme. As I understood thribs's original complaint, he felt Cavill's appearance in Black Adam should have been heralded by his "own" theme, not Reeve's. I don't think the focus was on the respective composers.
"Like it or not?" That's needlessly argumentative. I'm just saying that my own preference for original themes has nothing to do with how I feel about Cavill or his version of Superman. I like Cavill in the role, but I hate what Snyder did with the character, and I'm lukewarm about Zimmer's theme, which is not one of the best. So please don't lump me in with any of the factions in the ongoing debate over the Snyderverse or whatever. For me, it's strictly about wanting new composers to get the opportunity to add their own imprint to the tradition of original Superman themes. And I'm not talking about anyone other than myself. I just want to clarify that I have my own individual reasons for my opinion. I am not merely a member of some generalized category or stereotype.
Wasn't my intent. And that's fair enough. I value originality as well, but I also appreciate tradition and nostalgia, especially for a character with such a long history. And for me, nothing brings the same frisson of recognition when it comes to Superman as the Williams theme, whether it's woven subtly into the underscore or celebrated full-blast. (Though if some composer wanted to quote the George Reeves TV theme sometime, that would also be a delightful homage.) I wouldn't want the entire score of a new Superman film simply to crib from Williams's theme, but I do think its use works for something like the Black Adam cameo, where you have just a few seconds to evoke the thrill of, "It's Superman!"
No Time to Die pretty much destroyed that theory when we saw Nomi take on the 007 title, and there was no mention of her becoming Jamie Bond or Jane Bond, or some other female version of the James Bond name.
I don't remember the Man of Steel theme, and I don't think many do. That's why the 70s theme is used so often ... it actually touches people. In contrast, the movie theme for Wonder Woman got people REAL excited in Batman vs. Superman, so many this is a theme that could stick (at least until Zaslav has specific orders on Wonder Woman, and scree that up). No need to hear the 70's theme (though it would have totally worked in WW84). Back to Superman... they would need a remarkable theme, combined with a THOROUGHLY good movie (the whole and not just parts) for the new theme to stick
This is it: Personally I actually prefer it to the ‘78 one. To me the ‘78 version makes me think of Silver Age Superman while MoS makes me think of modern day Superman.
It didn't have the longevity/iconography of the 1978 theme. It is a decent Han Zimmer superhero theme
How can I put this? I thought Williams' "Superman" score felt out of place in the 2017 version of "Justice League" and in "Black Adam", considering that Cavill's Superman had his own theme. Which I never had a problem with. Also, the 1978 movie was not 85 years old during the release of "Black Adam".
To placate those who cannot accept anything other than the Donner version in larger sense of this kind of discussion. The Donner film is simply an interpretation, but by no means some "definitive" version (and during the period Williams composed that score, at times, he was becoming too derivative of his own work, with the exception of scores for Dracula and the very underrated work for The Fury). Poor example; the Bond movies are one series--one. It is supposed to be the same character, where a theme would be expected to reappear through Connery's run and used for Lazenby, Moore, Dalton, et al (which is the reason the Bond theme did not appear in 1967's Casino Royale or 1983's Never Say Never Again--both were not a part of the Eon Productions series). Superman--whether appearing in the Alyn serials, the Donner film, or the DCEU films are productions completely independent of the other--no narrative or production connections at all, so there is no justifiable reason to use music from an unrelated film. It would be as unnecessary and wrongheaded to use Billy May & Al Hirt's update of Nikolai Rimsky-Korsakov's "Flight of the Bumblebee" from The Green Hornet (1966-67) for any other GH production having no legitimate connection to the Dozier series.
Much prefer this theme. I've been listening to Williams do his couple of things for nearly fifty years now. I've heard enough.
It's a fantastic theme but it can't compete with the Williams' theme that's been in popular culture for 40 year plus given that it was the first time we were watching this iconic character on the big screen in modern times(at the time).
Exactly this. Like I said before, for a certain generation the Donner version left a big impression during their childhood. Like Batman '66 did. So everything before and after is compared and often found wanting. They consider that THE version of Superman. Or Batman. Not an interpretation. A lot of that is nostalgia.
https://twitter.com/wbhomeent/status/1616118474924851200?s=46&t=FhY-qOL-HmkC05-1m0D4NA Trailer for a new Batman animated film