You are Superman, aren’t you? Lois, look, we’ve been through these hallucinations of yours before. Can’t you see what you almost did? Throwing yourself off a building 30 stories high? Can’t you see what a tragic mistake you almost made? I made a mistake? I made a mistake because I risked my life instead of yours. Lois! Don’t be insane! And don’t fall down ‘cause you’re just going to have to get up again!
Superman II: The Richard Donner Cut (2006)
This scene features one of the best things about Chris Reeve’s portrayal, which is that he physicalized his different choices between playing Clark and Superman. Like, look at the difference:


He could go from Rick Moranis to Chris Evans with just his posture. It’s like his glasses are weighing his entire body down. Here it is, in motion:
Acting.
This is a perfect example that proves that the Clark Kent disguise actually does work….and how it works….
Christopher Reeve was the best Superman and still is
Are we gonna discuss that Lois Lane rationalized that Superman wouldn’t even feel a bullet, thus wouldn’t even know he hadn’t been hit, causing Clark Kent to reveal himself for who he truly is without her having to risk anybodies life?
God I love Christopher Reeve’s Superman because some of Clark’s clumsiness can be seen in Superman too. The fact that this man didn’t realize it was a blank even though he can see things move in slow motion is really funny to me
Like he grew up thinking he had to hide his powers and I just assume that sometimes he forgets he has them because Clark is Clark. He might be superhuman but he’s still a clumsy dumbass and that’s his biggest flaw.
You don’t need kryptonite when you’re dealing with a good honest clumsy man and Lois knows that because she knows Clark!
It’s why I don’t like pretty much any other Superman movie as much. They make him too perfect, that’s not what makes this Kansas man so charming!
Reblogging specifically for the shot with the glasses (so fabulous a transformation) and also for the emotional context of the scene, which his face continues to do extraordinary things—including signaling a kind of vulnerability that has nothing to do with being proof against bullets.











