in , , ,
- Advertisment -

“He was always killing in the ‘70s”: Kevin Smith Defends Zack Snyder Showing Henry Cavill’s Superman Killing General Zod in Man of Steel, Claims There Was Nothing Wrong

superman kills zod kevin smith

Henry Cavill’s Superman in the widely acclaimed Man of Steel belonged to a dark narrative that builds slowly and engulfs you whole. It wasn’t revolutionary or desperately creative. Zack Snyder entered the fray with an imperial vision of how he wanted to mold the new DC universe and when he left, the DCEU bore the mark of a haunting psychological phenomenon that has seduced the masses for almost a decade now. One of those marks includes Superman getting his hands bloody.

Man of Steel
Man of Steel (2013)

Also read: Former DC Films Head Walter Hamada Stopped Henry Cavill’s DCEU Return Because He Had Plans For a Black Superman

Recap: Superman vs General Zod Showdown in Man of Steel

The dread-filled silence of the screams and death that Zack Snyder magnificently applied to Man of Steel perhaps even overtakes his cinematography and color gradients. The director used the silence and benefitted from it because it left the impression of the ringing void that is left in the wake of an immense loss. That silence was depicted in the moments of Kevin Costner aka Jonathan Kent’s death and once more in the aftermath of Superman snapping General Zod’s neck.

Superman mourns taking General Zod's life
Superman mourns taking General Zod’s life

Also read: “This was just a cameo… imagine if they announce Man of Steel 2“: Henry Cavill’s Superman Cameo in Black Adam Setting Internet Ablaze Has Fans Convinced MoS 2 Could Resurrect DCEU

The skyscraper crashing fight that demolished half of the Metropolis was a constant ringing of shattering glass and unbridled demolitions. But in the end, none of those moments mattered when the sounds tuned out and Superman screamed with the loss of his humanity which he craved so hard to preserve. The moment was not just definitive in the becoming of the comic book character but was a topic of controversy among the fans of the newly minted DCEU who did not want to accept a morally grey character as their hero and savior.

Also read: “Snyder gave us Superman: Destroyer of Civilians”: Zack Snyder’s Controversial Decision From Henry Cavill’s Man of Steel Sends DCEU Fans Into a Frenzy

Kevin Smith Defends the Controversial Superman Scene

According to screenwriter, actor, and director, Kevin Smith, there was no overt and unjust exploitation of creative liberty where Zack Snyder’s Man of Steel is concerned, especially while referring to the infamous death of General Zod. Snyder’s Superman was not the first to commit the act with such finality on the screen and Smith assuredly reminds his readers of the fact by referencing the Supe from the ’70s and ’80s era.

“[Christopher Reeve’s] Superman very controversially snapped General Zod’s neck, which I didn’t quite understand… because in Superman II, General Zod is also killed in the Fortress of Solitude. They just presumably leave his body. So, when people are like, ‘Hey man, this ain’t Superman,’ I’m like, ‘I don’t know. Superman was killing people in the 70s and the 80s, as well.'”

Henry Cavill's Superman in the aftermath of General Zod's murder
Henry Cavill’s Superman in the aftermath of General Zod’s murder

Also read: “He’s heaven! He’s got a sexuality”: Original Lois Lane Actor Margot Kidder Called Henry Cavill Sexier Than Christopher Reeve’s Superman

Smith’s mention of the particular film that depicts a morally ambiguous Superman was Christopher Reeve‘s Superman II (1980) when the titular hero kills General Zod after taking away his powers, essentially turning the Kryptonian villain into a mortal. But the fundamental difference between Superman II and Man of Steel is the depiction of pain, grief, and remorse shown in the aftermath of the action — in the case of the former, there was none while for the latter, Henry Cavill‘s silent scream still echoes in the vaulted corners of our minds.

Source: GQ

Written by Diya Majumdar

At 25, Diya Majumdar is inching closer to getting to the bottom of every film and television's history in existence. Having graduated with honors in literature from Miranda House, DU, her passion and profession both include dissecting the world of cinema, with more than 800 published articles on Fandomwire. She is a liberally opinionated person with an overbearing love for Monet, Edvard Munch, and Van Gogh and boasts of being an avid painter of all their troubled works.