Jerry Siegel

The Bulleteers (1942, Dave Fleischer)

Three genius mechanical engineers come up with a flying, rocket-powered bullet car, with a penetrating nose, and try to extort millions from Metropolis. When their extortion fails, they attack. After some trouble, Superman stops them. The Bulleteers is nothing if not concise.

The cartoon starts introducing the bullet car, then its owners. They’re in a mountain hideout, of course, but it doesn’t turn out to be important. The emphasis of the cartoon, for the first half, is on the city. Lots and lots of people in Bulleteers–since they’re in a mountain the Bulleteers are able to use a very loud speaker to threaten the city, everyone comes outside to listen. So it’s a lot of beautiful design work, then nice, deliberate animation of the crowds. Until the nighttime attack, Bulleteers’s Metropolis feels vibrant and full.

The attack is a bunch of disaster sequences, as the bullet car easily knocks through police defenses and starts shooting through buildings, sending debris everywhere. Luckily, Lois Lane (Joan Alexander) has ditched Clark Kent (Bud Collyer) and he’s able to put on the longjohns to try to save the day. There’s some good tension in whether or not he’ll be able to do it.

The finale with the Bulleteers is a tad perfunctory, but the cartoon’s already done its stuff–the first part of their attack is on a power plant, which leads to some great disaster inserts. And some of the Superman action is excellent. All of the animation is excellent, regardless of content.

Bulleteers’s exquisite visuals and simple narrative add up to a nice eight minutes.

2/3Recommended

CREDITS

Directed by Dave Fleischer; screenplay by Bill Turner and Carl Meyer , based on characters created by Jerry Siegel and Joe Shuster; animated by Orestes Calpini and Graham Place; music by Winston Sharples and Sammy Timberg; produced by Max Fleischer; released by Paramount Pictures.

Starring Bud Collyer (Clark Kent/Superman/Bulleteer), Joan Alexander (Lois Lane), Julian Noa (Perry White/Bulleteer), and Jackson Beck (Bulleteer); narrated by Beck.


The Mechanical Monsters (1941, Dave Fleischer)

The Mechanical Monsters has a lot of promise. Or at least it seems like it’s going to have a lot of promise. A mad scientist has built around thirty giant flying robots he sends out to rob Metropolis. The cartoon opens with one of them returning with its loot. No one can stop him.

Back in the city, Lois and Clark are both covering a new jewelry exhibit. Clark (Bud Collyer) isn’t happy to see Lois there. The defining aspect of Collyer’s Clark Kent performance is how much he loathes Lois Lane when she’s doing her job, which makes the cartoon’s epilogue all the stranger.

So the giant robot attacks. Turns out it’s bulletproof too because the Metropolis police shoot tommy guns at it and the bullets ricochet everywhere. Presumably not into the fleeing civilians.

When Clark and Lois go to call the story in, Lois gives Clark the slip to get back to the giant robot, hitching a ride in the loot compartment. Then it’s Superman time.

The aforementioned promise starts building once Superman’s in play. Even after he somehow gets knocked out of the sky by the robot (it’s unclear if Superman’s jumping or flying, I suppose–whatever’s most convenient for the story) and gets into a fight with electrical lines, Monsters always seems like there’s about to be a great sequence.

When Superman finally gets to the mad scientist’s fortress to duke it out with the two dozen plus giant robots, it’s got to be a great sequence. Then it’s not. It’s rushed because it’s not even like Lois is in danger from the robots. She’s in danger from the mad scientist dropping her into molten lava. Good thing Superman’s cape is molten lava-resistant.

The epilogue has Clark complimenting Lois on her page one scoop; of course, she says she only got the story because of Superman. Fade out on knowing smile from Clark. Kind of gross.

There’s some nice stuff in the cartoon–effective close-up on the mad scientist, for example–but the story’s all over the place and the characters are weak. Joan Alexander, as Lois, gets about two and a half lines. Though at least this time director Fleischer cuts away from the villain assaulting her.

1/3Not Recommended

CREDITS

Directed by Dave Fleischer; screenplay by Izzy Sparber and Seymour Kneitel , based on characters created by Jerry Siegel and Joe Shuster; animated by Steve Muffati and George Germanetti; music by Winston Sharples and Sammy Timberg; produced by Max Fleischer; released by Paramount Pictures.

Starring Bud Collyer (Clark Kent/Superman/Scientist) and Joan Alexander (Lois Lane); narrated by Jackson Beck.


Superman (1941, Dave Fleischer)

Superman (or The Mad Scientist) opens with Jackson Beck narrating the origin of Superman. It’s a couple minutes, sets up Krypton going boom and mild mannered reporter Clark Kent. Then it’s on to the action, which starts with a mad scientist sending a threatening letter to the Daily Planet.

Perry White (Julian Noa) tries to send Lois (Joan Alexander) and Clark (Bud Collyer) on assignment to investigate. The mad scientist is going to attack at twelve midnight. Lois tells the boys she wants to do it alone and skips out, getting in a plane and flying off. Clark makes some vaguely sexist remark to Perry and cut to the mad scientist.

The mad scientist has a pet bird (vulture? blackbird? doesn’t matter). They cutely walk around his hidden laboratory as the mad scientist prepares his death ray. Lois shows up just before midnight, ready… to interview him? Instead he assaults her and ties her up. He zaps a bridge, at midnight, just like his note said, apparently surprising Clark, who’s sitting at his desk. He then changes outfits and saves the day as Superman. Though not the bridge. And there’s no real prevention of the plan.

The cartoon’s designs are fantastic throughout–Lois in her flight gear–the architecture of the buildings, but the animation takes a while to impress. The mad scientist, for instance, is particularly disappointing. He’s got a jerky walk and Jack Mercer plays him as flat evil. The bird saves their scenes, even though the bird makes absolutely no sense.

It’s like they realized the mad scientist didn’t have enough personality.

Some of the Superman saving the day stuff is fantastic, though the cartoon’s understanding of structure engineering (a skyscraper flops like gelatin) is suspect. Unfortunately, Superman’s showdown with the mad scientist is rather wanting. And the rescue of Lois is dramatically inert. Just like the resolution.

Superman looks great, moves mostly all right, and the Winston Sharples and Sammy Timberg music is right on… but it’s lacking. And the silhouetted violence of the mad scientist attacking Lois is pretty intense given it’s a cartoon with a cute pet (evil) bird.

1/3Not Recommended

CREDITS

Directed by Dave Fleischer; screenplay by Seymour Kneitel and Izzy Sparber, based on characters created by Jerry Siegel and Joe Shuster; animated by Frank Endres and Steve Muffati; music by Winston Sharples and Sammy Timberg; produced by Max Fleischer; released by Paramount Pictures.

Starring Bud Collyer (Clark Kent/Superman), Joan Alexander (Lois Lane), Jack Mercer (The Mad Scientist), and Julian Noa (Perry White); narrated by Jackson Beck.


Atom Man vs. Superman (1950, Spencer Gordon Bennet)

Lyle Talbot is the best thing about Atom Man vs. Superman. Overall, he might even give the best performance–he flubs some material, but it’s better material than his only serious competitor, Noel Neill, ever gets. There aren’t great performances in Atom Man vs. Superman. The serial wouldn’t know what to do with them.

Talbot is Atom Man. Or Lex Luthor. The serial tries to confuse the good guys by creating two villains, even though it’s pretty obvious from early on Talbot’s both of them. Though it’s actually unresolved; Atom Man might–technically–not be Talbot. Doesn’t matter. A lot of Atom Man vs. Superman doesn’t matter. Like most of the first half of the chapters–it runs fifteen–and the last two. Atom Man isn’t one of those serials where nothing in between the first chapter and the last chapter matter. The last chapter is nowhere near impressive enough to matter.

The serial has a few subplots, like Talbot making artifical kryptonite, Kirk Alyn getting trapped in another dimension (“the empty doom”) while his coworkers wonder what’s happened to Clark Kent, Neill going to work for Talbot. The artificial kryptonite plot line requires a lot of precious metal theft, which means good guys chasing goons and goons kidnapping good guys. Jimmy Olsen Tommy Bond–who starts off the serial in a repeat from the previous one picking on Neill for, you know, being a woman–ends up the most frequent damsel in distress. Neill gets grabbed a couple times, but she at least sticks up for herself. If only then to turn around and beam nonsensically at Alyn when he arrives to save her.

But Neill and Talbot are good adversaries. Neill and Alyn don’t have much chemistry, which seems more the fault of director Bennet and the three screenwriters than anything else. When she’s rescued, she beams at him. When Alyn’s in the Clark Kent spectacles, they bicker without chemistry. They’re both slightly petty towards each other without much cause. Usually because the pettiness just puts them in danger–Neill’s always in the soup because she ignores Alyn (as Superman) warning her about a danger–but the toxic professional environment is a problem. It comes from the top down, of course, with editor Pierre Watkin. He sits at his desk–the strangest thing about Watkin is I think he’s supposed to be gruffly likable and instead he’s just a boob–anyway, he sits at his desk, tells his reporters they’re lying to him, defends super-villain Talbot, has Bond turn on his radio for him. It never gets too bad because Watkin’s part is never so important he’s not dismissible; it’s just another of Atom Man’s easily fixable fails.

Again, director Bennet and the three screenwriters. They do no one any favors.

The serial’s at its best when Neill is working for Talbot. She’s doing on the street interviews for his TV network start-up. Of course, it’s all a front for his robbery ring. Talbot can make robots, flying saucers, earthquake rays, atomic missiles, a teleporter, a spaceship, fake kryptonite, and some other things, but when it comes to fueling his endeavors? Breaking and entering. And when he gets busted, his fallback plan is to literally destroy the planet. Again. Screenwriters not doing anyone any favors. Especially not Talbot.

The three or four chapters with Neill working for Talbot get her out of the Daily Planet newsroom and onto the backlot streets. There are chase scenes, there’s banter with the interviewees, the serial all of a sudden shows some personality. Because when Neill’s playing second-fiddle to Alyn, it has none. She stands, usually silent, staring at him with a beatific smile, and time drags. Usually because it’s just after Alyn–as Superman–has come up with some idiotic plan. The script has zero awareness for Alyn, both as Superman and Clark Kent; at least as Clark Kent, he’s not constantly going into danger and getting in trouble. Plus, Talbot’s teleporter gets the most use getting goons out of trouble so it’s not even like Alyn can catch them. He’s a dunce.

Sadly the script doesn’t give Talbot any material observing Alyn’s constant mistakes; instead, Superman’s supposed to be a worthy foe. Even if he walks into every one of Talbot’s traps with a big grin on his face.

The special effects are another issue. Or lack thereof. Superman flying is, just like in the previous serial, an animated figure over live action footage. At one point, Atom Man vs. Superman does a great sequence–with the little animated Superman–for the flood and it’s awesome. The serial hadn’t suggested it was going to be so ambitious as to use actual miniatures up to that point. It’s never anywhere near as ambitious again. The last two chapters, which kind of should be the big finish, have nothing. Superman versus atomic missile and spaceship and flying saucers ought to be a lot better.

A bigger budget, a better director, a better script, any of these things would help immensely. Because without them, the serial’s something of an incomplete effort. Especially with that lackluster finale. Take Alyn, for example. He does the job the serial asks of him. He has a few good moments throughout the fifteen chapters, but nothing sustained. When Neill is off working for Talbot, Alyn starts ridiculing Bond just because he can. It shouldn’t be a surprise; as Superman, Alyn’s not always concerned with people’s safety or, you know, even their lives. He’ll occasionally let someone die. Or torture out a confession.

Atom Man vs. Superman, despite running over four hours, never gives Alyn any character development. He does go to cover the flood, but it’s just a setup for some Superman. He doesn’t have anything independent of the main story. Even when it seems like he might get something–the kryptonite subplot–the serial just skips away from him. It usually skips away to go back to Talbot, which isn’t terrible, but the slightest semblance of character development might do wonders.

Neill gets the most sympathy in bad scenes. She’s got zip the last two chapters. Her big showdown with Talbot–in her final kidnapping of the serial–doesn’t pay-off.

In the supporting cast, which is practically bit part level of supporting, Don C. Harvey and George Robotham are good. Harvey’s a science goon, Robotham’s Neill’s cameraman. If Jack Ingram–as the chief on-the-street goon–were better, it might help. He’s not terrible, but he’s utterly flat.

Atom Man vs. Superman’s a disappointment to be sure, but more because it doesn’t deliver on the promise of its midsection than the opening. It starts an okay serial (minus Bond being such a dip), gets better (as Bond shuts up), then defaults back to okay (with Bond still keeping the dip to a minimum because he’s barely in it). Neill and Talbot keep it moving, with Alyn a sturdy enough “lead.”

1/4

CREDITS

Directed by Spencer Gordon Bennet; screenplay by George H. Plympton, Joseph F. Poland, and David Matthews, based on characters created by Jerry Siegel and Joe Shuster; director of photography, Ira H. Morgan; edited by Earl Turner; produced by Sam Katzman; released by Columbia Pictures.

Starring Kirk Alyn (Superman / Clark Kent), Noel Neill (Lois Lane), Lyle Talbot (Luthor), Tommy Bond (Jimmy Olsen), Pierre Watkin (Perry White), Jack Ingram (Foster), Don C. Harvey (Albor), Paul Stader (Lawson), George Robotham (Earl), and Fred Kelsey (Police Chief Forman).


Atom Man vs. Superman (1950, Spencer Gordon Bennet), Chapter 15: Superman Saves the Universe

There’s more Lyle Talbot dealing with bad employees than anything approaching universe-saving in Superman Saves the Universe. There’s another earthquake sequence, with Kirk Alyn actually on a disaster set saving people, but it’s midway through the chapter and the finale doesn’t top that sequence.

Talbot has decided to destroy the planet Earth from his space ship–mass earthquakes–and takes Noel Neill prisoner. She’s going to be Eve, apparently. Will Superman be able to stop Talbot? Given it’s one of Talbot’s weakest schemes in the serial….

The biggest gaffe–at least in terms of a narrative one–comes at the end, when Neill’s sure she’s figured out Alyn’s secret. There’s a drawing of Clark Kent without glasses–because he’s wearing a tie, not a big red S–and Neill draws glasses on him.

It’s like there was an idea and no one–not the screenwriters, not director Bennet–knew how to pull it off. It’s not hard thing to pull off either, it just needs to make visual sense.

Overall, Universe isn’t a good chapter for anyone. Neill’s material is awful. Talbot’s is a little better but not much. Alyn’s kind of got some good material but Bennet’s direction is weak.

Superman Saves the Universe isn’t just not a satisfying finish to Atom Man vs. Superman, it’s not even a satisfying serial chapter.

CREDITS

Directed by Spencer Gordon Bennet; screenplay by George H. Plympton, Joseph F. Poland, and David Matthews, based on characters created by Jerry Siegel and Joe Shuster; director of photography, Ira H. Morgan; edited by Earl Turner; produced by Sam Katzman; released by Columbia Pictures.

Starring Kirk Alyn (Superman / Clark Kent), Noel Neill (Lois Lane), Lyle Talbot (Luthor), Tommy Bond (Jimmy Olsen), Pierre Watkin (Perry White), Jack Ingram (Foster), Don C. Harvey (Albor), Paul Stader (Lawson), George Robotham (Earl), and Fred Kelsey (Police Chief Forman).


Atom Man vs. Superman (1950, Spencer Gordon Bennet), Chapter 14: Rocket of Vengeance

Rocket of Vengeance is all filler. It opens with Kirk Alyn and Noel Neill trying to find Lyle Talbot’s base. Talbot’s trying to stop the intruding cops and reporters–though he never attacks the (off-screen) coppers–with his various bits of technological terror. One such terror hits Alyn and Neill’s airplane….

After the resolution, which is just a reveal of an opportune fainting spell, Alyn and Neill go back to the Daily Planet. There, Talbot broadcasts threats over the police band. He causes an earthquake, which causes no significant damage, but Alyn–changing from spectacles to tights–isn’t strong enough to counteract the tremors completely so the cops acquiesce to Talbot’s demands.

All he wants is for them to stop looking for him. It’s not like he’s not going to destroy the Earth, it’s just not going to be as soon. Everyone knows Luthor’s the bad guy at this point, with Pierre Watkin never having to acknowledge his bad judging of character. Though at one point Watkin has to turn on his radio himself, which usually everyone waits for Tommy Bond to do.

There’s some more superhero stuff for Alyn–Neill and Bond go back to look for the base again, getting in trouble and needing saving.

Talbot’s eventually has enough of the tomfoolery and launches a giant rocket to destroy Metropolis.

The effects shots of Alyn intercepting the rocket are wanting. It’d have helped a lot if Atom Man vs. Superman had better ideas for integrating the animated flying. They had that one good sequence, then everything else has been blah. Though the animator does get Alyn’s body language right, for when it cuts from Alyn preparing for take-off and the cartoon Superman actually taking off.

One more to go.

CREDITS

Directed by Spencer Gordon Bennet; screenplay by George H. Plympton, Joseph F. Poland, and David Matthews, based on characters created by Jerry Siegel and Joe Shuster; director of photography, Ira H. Morgan; edited by Earl Turner; produced by Sam Katzman; released by Columbia Pictures.

Starring Kirk Alyn (Superman / Clark Kent), Noel Neill (Lois Lane), Lyle Talbot (Luthor), Tommy Bond (Jimmy Olsen), Pierre Watkin (Perry White), Jack Ingram (Foster), Don C. Harvey (Albor), Paul Stader (Lawson), George Robotham (Earl), and Fred Kelsey (Police Chief Forman).


Atom Man vs. Superman (1950, Spencer Gordon Bennet), Chapter 13: Atom Man’s Flying Saucers

All throughout Atom Man’s Flying Saucers, I was waiting for the flying saucers. Why would Atom Man–Lex Luthor (Lyle Talbot)–have flying saucers? Because, as Talbot explains at one point, the final phase of his plan is to go up in his spaceship and attack Earth. He’ll be taking some of his goons with him on the mission.

The chapter does at least address the cave thing. Apparently they’re going from cave to cave, not just the same cave. Or I’m choosing to believe they’re going from cave to cave, just so the good guys aren’t so stupid as they haven’t found Talbot’s hideout (again) yet.

The cliffhanger resolution is lackluster. Then it just turns into Noel Neill and Tommy Bond pursuing some of Talbot’s goons. Kirk Alyn, in tights, shows up to help out Neill and Bond (after Neill nonsensically ignores Alyn’s warnings).

Pierre Watkin is once again proven wrong this chapter and once again gets away without a comeuppance. Ignorance is rewarded in Atom Man vs. Superman; ignorance keeps the serial moving. After a string of rather strong chapters, Flying Saucers is a return to disappointing form.

Worse, the flying saucer (singular, no need for the plural in the title) is an animated effect. Alyn–piloting the Daily Planet plane as Clark Kent–isn’t even surprised by the saucer. It’s just a regular thing.

Blah. Hopefully Atom Man vs. Superman doesn’t do too much damage more to itself in the remaining two chapters.

CREDITS

Directed by Spencer Gordon Bennet; screenplay by George H. Plympton, Joseph F. Poland, and David Matthews, based on characters created by Jerry Siegel and Joe Shuster; director of photography, Ira H. Morgan; edited by Earl Turner; produced by Sam Katzman; released by Columbia Pictures.

Starring Kirk Alyn (Superman / Clark Kent), Noel Neill (Lois Lane), Lyle Talbot (Luthor), Tommy Bond (Jimmy Olsen), Pierre Watkin (Perry White), Jack Ingram (Foster), Don C. Harvey (Albor), Paul Stader (Lawson), George Robotham (Earl), and Fred Kelsey (Police Chief Forman).


Atom Man vs. Superman (1950, Spencer Gordon Bennet), Chapter 12: Atom Man Strikes!

Most of Atom Man Strikes! is Noel Neill’s. After an awesome cliffhanger resolution–awesome in terms of the Superman special effects (easily the best in the serial thus far)–Neill starts secretly investigating her coworkers. Kirk Alyn finds the secret compartment in the TV van, where the bad guys spy on everyone and get safe combinations. Because Lex Luthor’s criminal empire is built on money from retail story robberies.

There’s one silly scene where Neill introduces Alyn (in his tights, not spectacles) to her stunned coworkers and just beams at him. George Robotham plays Neill’s cameraman; he doesn’t have a lot to do, but he’s a fine enough sidekick for her. Better than Tommy Bond for sure. Even if Robotham is in on some of Lyle Talbot’s scheming, though seemingly not all of it.

The cliffhanger has Talbot ready to kill everyone at the Daily Planet and probably on the city block to hide the truth about his burglary ring.

There’s a second action sequence for Superman involving a burning building. Despite a little more effort than usual as far as dynamically integrating the flying animations, it doesn’t impress. Not like the opening. Because the opening mixes the flying animation with actual optical effects, not stock footage.

Overall, it’s a rather strong chapter. Neill getting to play reporter is great. Even director Bennet wakes up a little for when the goons are chasing her down the streets of Metropolis and through various buildings. And the cliffhanger is solid. Though the Atom Man doesn’t strike. Talbot strikes. Luthor strikes. No Atom Man visible. Not since Alyn broke the bedazzled planter serving as Atom Man’s head a few chapters ago.

CREDITS

Directed by Spencer Gordon Bennet; screenplay by George H. Plympton, Joseph F. Poland, and David Matthews, based on characters created by Jerry Siegel and Joe Shuster; director of photography, Ira H. Morgan; edited by Earl Turner; produced by Sam Katzman; released by Columbia Pictures.

Starring Kirk Alyn (Superman / Clark Kent), Noel Neill (Lois Lane), Lyle Talbot (Luthor), Tommy Bond (Jimmy Olsen), Pierre Watkin (Perry White), Jack Ingram (Foster), Don C. Harvey (Albor), Paul Stader (Lawson), George Robotham (Earl), and Fred Kelsey (Police Chief Forman).


Atom Man vs. Superman (1950, Spencer Gordon Bennet), Chapter 11: Luthor’s Strategy

About the last third of Luthor’s Strategy is Superman trying to save people during a big flood. The sequence is a mix of composite shots, flying shots, newsreel footage of actual floods, and then some connective shots. Kirk Alyn and Noel Neill, separately, driving to the flood location. They just happen to be in an obviously mountainous area while the flood is on flat land.

But it’s pretty exciting stuff, especially since the previous special effects extravaganza in the chapter was Lyle Talbot setting off timed sparklers in his office to throw suspicion from himself.

The cliffhanger resolution is all right, with the “Lois works for Lex” plotline far more diverting than some of the previous ones in Atom Man. Neill doesn’t get much to do this chapter–except tough it out during the flooding while her cameramen run; instead, it’s Pierre Watkin yelling at Alyn about how Talbot’s really a good guy.

Speaking of Talbot, Strategy has some of his worst acting so far in the serial. He’s not terrible, he’s just not good opposite a bunch of nondescript reporters. No personality.

And the Tommy Bond and Alyn Daily Planet dynamic is kind of interesting. Far better than the Neill and Bond dynamic, as Bond’s not a condescending jackass to Alyn. Though Alyn is a condescending jackass to Bond.

CREDITS

Directed by Spencer Gordon Bennet; screenplay by George H. Plympton, Joseph F. Poland, and David Matthews, based on characters created by Jerry Siegel and Joe Shuster; director of photography, Ira H. Morgan; edited by Earl Turner; produced by Sam Katzman; released by Columbia Pictures.

Starring Kirk Alyn (Superman / Clark Kent), Noel Neill (Lois Lane), Lyle Talbot (Luthor), Tommy Bond (Jimmy Olsen), Pierre Watkin (Perry White), Jack Ingram (Foster), Don C. Harvey (Albor), Paul Stader (Lawson), George Robotham (Earl), and Fred Kelsey (Police Chief Forman).


Atom Man vs. Superman (1950, Spencer Gordon Bennet), Chapter 10: Atom Man’s Heat Ray

Atom Man’s Heat Ray does not feature a heat ray. Unless it’s the machine Luthor (Lyle Talbot) uses the pump smoke into the room where he’s trapped Noel Neill, Kirk Alyn, and Tommy Bond.

Now, it turns out Neill is only working for Talbot’s TV station to get the goods on him for Superman (and the Daily Planet, presumably). Alyn reveals it, aloud, only for a goon to overhear. For whatever reason, no one thought to tell Bond about Neill’s secret mission. They catch the goon, so he couldn’t report back. Meaning Talbot just decides to kill Neill along with Alyn and Bond; it’s almost like he’s not interested in her journalism skills (he just wants her to make him look legitimate).

There’s some brief, fun Superman action–though the cliffhanger resolution seems to be a process shot reused from the first serial, which I suspected at the setup last chapter–and, again, it’s great to see Neill get so much to do. Besides mooning over Alyn in his long johns.

Heat Ray, with Neill’s subterfuge and Talbot’s attempts at looking legit, has some of the serial’s best ideas for plotlines. Shame it’s the tenth chapter of the serial (and the subplots seem resolved, one way or the other, by the cliffhanger).

CREDITS

Directed by Spencer Gordon Bennet; screenplay by George H. Plympton, Joseph F. Poland, and David Matthews, based on characters created by Jerry Siegel and Joe Shuster; director of photography, Ira H. Morgan; edited by Earl Turner; produced by Sam Katzman; released by Columbia Pictures.

Starring Kirk Alyn (Superman / Clark Kent), Noel Neill (Lois Lane), Lyle Talbot (Luthor), Tommy Bond (Jimmy Olsen), Pierre Watkin (Perry White), Jack Ingram (Foster), Don C. Harvey (Albor), Paul Stader (Lawson), George Robotham (Earl), and Fred Kelsey (Police Chief Forman).


Scroll to Top