Superman III (1983)

Overview

Superman III is the third entry in the original Superman film series, and by far the most divisive. Released in 1983 and directed solely by Richard Lester—who had completed the second film after Richard Donner's departure—it steers sharply into comedic territory, diluting the mythic and emotional tone of the earlier films in favour of slapstick, satire, and an awkward tech-paranoia subplot.

Though it features a compelling performance from Christopher Reeve and an inventive, if underdeveloped, "evil Superman" storyline, Superman III ultimately suffers from tonal inconsistency, a weak villain, and a misplaced emphasis on comedy over character. It’s a curious oddity—part superhero adventure, part Richard Pryor vehicle, and part cautionary tale about corporate interference in franchise filmmaking.

Plot Summary

The film opens with a chaotic slapstick montage in Metropolis, establishing a lighter (and some would say sillier) tone. We then meet Gus Gorman (Richard Pryor), an unemployed ne'er-do-well who discovers he has an extraordinary talent for computer programming. Quickly hired by tech mogul Ross Webster (Robert Vaughn), Gus becomes a pawn in a megalomaniacal plot to control the world's economy using weather satellites and synthetic kryptonite.

Meanwhile, Clark Kent returns to Smallville for a high school reunion and reconnects with his old flame Lana Lang (Annette O’Toole). While Clark tries to enjoy some small-town romance, Superman is drawn into Webster’s schemes.

A pivotal moment occurs when Gus manufactures synthetic kryptonite laced with unknown elements. Instead of killing Superman, it corrupts him, creating a darker, crueller version of the hero who grows progressively more immoral—drinking, womanizing, and neglecting his duties. The internal conflict leads to a dramatic (and symbolic) showdown between Clark and his corrupted alter ego in a junkyard—a rare highlight of the film.

Eventually, Superman regains his virtue and confronts Webster and his supercomputer, which has gone rogue, becoming a malevolent AI. After rescuing Gus and disabling the machine, Superman restores balance, returns to Smallville to bid farewell to Lana, and sets off once again for Metropolis.

Christopher Reeve as Superman / Clark Kent

Despite the surrounding chaos, Christopher Reeve remains Superman III’s greatest asset. His performance is layered and committed—especially in the segments where Superman is corrupted by synthetic kryptonite. The junkyard sequence, where Reeve portrays both good and evil versions of his character in a literal internal struggle, is the emotional and thematic centrepiece of the film and shows his range and nuance.

Reeve also adds warmth and humanity to Clark Kent, particularly in the Smallville scenes with Lana Lang, which offer a welcome respite from the film’s zanier elements. He anchors the movie with sincerity, even when the material around him falters.

Richard Pryor as Gus Gorman

Casting comedian Richard Pryor, then one of the most popular entertainers in the world, was both a marketing ploy and a creative gamble. Pryor brings charm and comic energy to the role of Gus, but his presence feels disconnected from the rest of the Superman mythos. Gus is not a villain in any real sense—he’s more of a bumbling bystander caught up in a mess he doesn't fully understand.

While Pryor’s natural charisma is intact, his storyline occupies so much of the film that it shifts focus away from Superman himself. As a result, Superman III sometimes feels more like a Richard Pryor comedy with Superman guest appearances than a proper superhero film.

Robert Vaughn as Ross Webster

Ross Webster is a pale imitation of Lex Luthor. Though Robert Vaughn is a capable actor, the character is a stock corporate villain with vague goals (economic domination?) and no real depth. He’s surrounded by cartoonish sidekicks, including the socialite Lorelei (Pamela Stephenson) and the sinister computer expert Vera (Annie Ross), who eventually becomes part of a chilling human-machine hybrid moment—an unexpectedly intense scene in an otherwise lightweight film.

Webster lacks the theatrical menace and intelligence of Gene Hackman’s Lex Luthor. His motivations are thin, and he poses little real threat beyond what his machines can do.

Annette O’Toole as Lana Lang

O’Toole is a standout in the film, bringing warmth and relatability to Lana Lang, Clark’s Smallville sweetheart. Her portrayal is refreshingly different from Margot Kidder’s sharp-edged Lois Lane—softer, more grounded, and evocative of Clark’s Kansas roots.

Her chemistry with Reeve is gentle and believable, and their interactions give the film its most human and emotionally resonant moments. Unfortunately, her character arc remains largely undeveloped beyond being a romantic alternative.

Tone and Direction

Richard Lester’s touch is unmistakable: comic absurdity, visual gags, and physical humour abound. While Superman II benefited from a careful balance between Donner’s gravitas and Lester’s humour, Superman III tips fully into farce. The opening scene is a pratfall-filled chain reaction of gags involving blind pedestrians, falling paint cans, and runaway penguin toys—more Looney Tunes than Man of Steel.

There’s a tonal dissonance between the comedic sections and the darker, more compelling evil Superman arc. These feel like they belong in entirely different films. Had the filmmakers leaned further into the idea of Superman’s moral corruption, the film might have had real dramatic weight.

Visual Effects and Action

The effects are a mixed bag. The flying sequences are serviceable but less impressive than those in the first two films. The climactic fight with the rogue supercomputer is visually interesting—especially when Vera is forcibly transformed into a cyborg—but it feels detached from the emotional core of the film.

The junkyard battle between good and evil Superman, though, is a technical and emotional high point, using smart editing and physical choreography to represent an inner conflict in a tangible way.

Music and Score

Ken Thorne once again adapts John Williams' iconic themes, but the music lacks the grandeur and richness of the earlier scores. The soundtrack matches the film’s uneven tone—light and breezy in some moments, slightly ominous in others—but is generally forgettable.

Themes and Subtext

While muddled by the comedy, Superman III touches on some interesting ideas:

Duality and inner conflict: Superman’s descent into moral decay and his battle to reclaim his identity echo super heroic themes of power, responsibility, and personal virtue.

Technology and fear: The rogue supercomputer, with its ability to make decisions and adapt, reflects early-1980s anxieties about unchecked technological advancement—though the execution is simplistic.

Nostalgia and roots: Clark’s return to Smallville and his reconnection with Lana emphasize a theme of grounding oneself amid the chaos of modernity.

Reception and Legacy

Superman III underperformed compared to its predecessors and received mixed-to-negative reviews. Critics cited its tonal inconsistency and weak plot, and many fans were disappointed by the side-lining of Lois Lane (Margot Kidder appears in only a few brief scenes) and the introduction of a new cast with little relevance to the established mythology.

Over time, the film has gained a modest cult following—mainly for Reeve’s performance, the evil Superman arc, and a nostalgic appreciation for early ‘80s camp. But it is generally regarded as a misstep in the franchise, particularly in light of the much-maligned Superman IV: The Quest for Peace (1987).

Final Assessment

Superman III is a film of conflicting impulses. It tries to be a superhero movie, a buddy comedy, a romantic throwback, and a tech thriller all at once—and as a result, it rarely succeeds in being any of them fully. Still, Christopher Reeve’s performance and the ambitious (if uneven) evil Superman storyline give the film moments of genuine interest.

Had it focused more on its darker psychological themes and less on slapstick comedy and gimmick casting, it might have delivered something more lasting. As it stands, Superman III is an uneven but fascinating relic of its time—an earnest misfire that reminds us how easily a superhero story can go off course when spectacle and tone are not carefully balanced.

Verdict: Ambitious but scattershot. A few memorable moments and a great performance from Reeve can’t fully redeem a film that strays too far from what made its predecessors soar.