It is not the plot, the action, or the special effects that make Superman good; it is the acting. Furthermore, it is primarily the acting of Christopher Reeve in the title role that gives the film its value. Superman is not here for us to ponder but rather to gaze at. It is a wish-fulfillment for those who want someone to save them from the evils of the world. It is an emotionally lifting film rather than an intellectually engaging one. Good or bad? That depends on what you're looking for.

Superman's plot is a bit awkward but understandably so. The vast majority is spent in awe of this character that can do virtually anything. Once the film gets to the point where Superman is no longer Super-baby or Super-adolescent, it kicks into "look at this" mode. This portion of the film, about the middle third of it, focuses on showcasing Superman's goodness and superpowers by showing him performing beneficent acts like handing criminals over to the police and helping kitties down from trees. It is not until the last quarter of the film that any conflict really emerges.

The conflict that does arise is silly. Lex Luthor has a plan to strike a California fault line with some reprogrammed United States nuclear missiles so that the currently worthless property he just bought on the other side of the fault will become prime beachside real estate. The question is this: When this catastrophe occurs, is it not likely that the government will investigate to find just who it was that bought up all the now-prime land immediately beforehand, and is it not probable that they will find out who it was? I guess the filmmakers' answer would be that Luthor is such a genius that he already has a plan to dodge such a problem. The good thing about this flaw is that the film is not trying to be a genuine thriller. It's just putting up some scenario for Superman to save us from. Fair enough. Superman is not meant to be novel or complex. It is a vivid dream of how justice could be upheld.

Overall, the performances in Superman are great, particularly the good guys. Christopher Reeve, of course, shines. He plays the role without the slightest hint of irony, clearly believing wholeheartedly in the character. Even when he says the impossible, "I'm here to fight for truth and justice and the American way," it is enough to move the staunchest pessimist to hope. That he manages to make this statement work is a testament to his ability as an actor. Reeve plays an equally perfect Clark Kent. Stuttering, spilling things, chronically apologizing, he is every bit as clumsy and unconfident as the character is portrayed in the comics. He never lets up in his timidity. Reeve is able to amaze, amuse, and entertain at will. It is he, more than any other element of the movie, that makes it enjoyable.

Margot Kidder plays a perfect Lois Lane as well, but more than that, it is the chemistry between her and Reeve that really stands out (save for one painfully cheesy voiceover poem she speaks in her thoughts). While interacting with Kent, Lane is as dominant as can be. When she's with Superman, she is awestruck into submission. Whereas she hardly gives Kent a second thought, she exhibits unworthiness while in the presence of the Man of Steel. She expresses these states of mind through body language and facial expressions, and it is all clearer than if she had vocalized it. During an interview with Superman, for example, she seems as unsure of herself as Kent could ever have been. Just as Superman has his soft side, the Superman-Kent dichotomy reveals the softness within even hard-edged people like Lane. It is a softness exposed when confronted with something of substantial physical and idealistic stature. In the same way, even viewers with a tough exterior will find it hard not to be touched by Reeve's performance. Kidder plays Lane as an everyperson. She is our presence in the film.

The supporting roles do almost as much for the film as the leads. Jimmy Olsen (Marc McClure) is the perfect obsequious cameraman/errand boy who shows no regret for his position. Jackie Cooper plays chief editor Perry White perfectly, teetering on the edge of temperamental without ever becoming dislikable. Occasionally funny, always what we expect them to be, these two characters are a pleasure to watch.

The bad guys are the only ones you can complain about, and it is more the script than the acting that's the problem. Human supervillain Lex Luthor (Gene Hackman) is given zero depth. Instead of being a humanist who views Superman as a danger to the betterment of the race, he is a guy who simply likes accomplishing the greatest criminal schemes he can think of. Hackman does what he can to make the character interesting, but there is only so far he can go with the material. His henchman, Otis (Ned Beatty), is worse. He bumbles about, calling Luthor "Mr. Lew-Thor" and acting more cartoon-ish than even many characters do in comic books. He is not a bad guy that you actually fear at all. You can only scoff at him. Granted, this does further the film's strategy of placing Good on the high ground against Evil, but ultimately he is too childish to bear. Even though we are meant not to take the villains seriously (for the sole reason that they are villains), it would have been nice to have bad guys with some degree of complexity.

Almost as indispensable as the acting in Superman is John Williams' score. Before we even see Superman, the music forces fascination upon us. It is so Romantic that no ideal can stand against it. It is so magnificent, you walk away from the film feeling as awestruck as if you had just personally met the real Superman.

Superman is a feel-good film. Upon watching it, it is difficult not to feel ready to change the world. It is a wish portrayed on screen -- the wish for truth, justice, and, yes, the American way. It is carried solely by the performances, and mostly by Christopher Reeve. We may not believe in the special effects anymore, but we will always believe in the man on screen. Superman falls in the same category as films like Star Wars, unapolgetically offering pure, unadulterated hope. Sometimes that's just what we need.