Production
Republic Pictures tried twice to produce a Superman serial. The first attempt was replaced by Mysterious Doctor Satan (1940), when licensing negotiations with Superman publisher National Comics (later called DC Comics) failed. A second attempt was advertised for a 1941 release; but this time, two obstacles doomed production. National Comics insisted on absolute control of the script and production; and, the rights to Superman were already committed to the Paramount cartoon series. Sam Katzman acquired the live-action rights in 1947. He tried to sell them to Universal, but they no longer made serials by then. He also tried to sell to Republic; but, they claimed that "a superpowerful flying hero would be impossible to adapt" -- despite having already successfully done just that in 1940 with The Adventures of Captain Marvel. Also, Republic was no longer buying properties for adaptation by 1947. Columbia accepted.
Sam Katzman found Kirk Alyn after looking through photographs, but had a hard time selling the idea of casting Alyn to Whitney Ellsworth, National Comics' representative on the project. This was made even worse when Alyn came in for a screen test, sporting a goatee and moustache (as he was also shooting another project, a historical film). These initial reservations were eventually overcome, and Alyn got the part. Columbia's advertising claimed that it could not get an actor to fill the role, so it had "hired Superman himself"; and, Kirk Alyn was merely playing just Clark Kent.
George Plympton added a joke to script, substituting the Lone Ranger's "Hi-Yo Silver!" for the traditional "Up, Up and Away". This did not survive in the script long enough to actually be filmed. The Superman costume was grey and brown, instead of blue and red, because those colours photographed better on black and white film.
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Famous quotes containing the word production:
“The repossession by women of our bodies will bring far more essential change to human society than the seizing of the means of production by workers.”
—Adrienne Rich (b. 1929)
“The myth of unlimited production brings war in its train as inevitably as clouds announce a storm.”
—Albert Camus (1913–1960)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)