Welcome to the final stretch of the film, where the action ramps up significantly and the film's themes reach their climactic resolutions.
By the way, if you find the following research impressive and are looking to hire someone who can do journalism, you can find me on Discord on the DC Films server by Dantius87#1417.
Batman v Superman: Dawn of Justice (Scene-by-Scene - Part 1/3): First hour analysis.
Batman v Superman: Dawn of Justice (Scene-by-Scene - Part 2/3): Second hour analysis.
Batman v Superman: Dawn of Justice (Scene-by-Scene - Part 3/3): Third hour analysis.
Batman v Superman: Dawn of Justice (Overview): Story, character, production.
Reminder that what you see here is constantly being updated and improved with new material. Please forgive any typos or barren areas.
Dawn of Justice
Low-angle shot on Diana in her hotel room, bare-legged in her
bathrobe. Pan up and right as she walks across the room with a
dress in hand. We can see the television above the fireplace,
where a reporter says, "But as of right now, much of the city remains in the dark
tonight."
As the lights flicker again, pan up to Diana looking startled as the reporter says, "Much chaos, much confusion happening on the streets of Metropolis tonight."
Diana turns and we pan to see her glance at the television. Then we
track Diana hurrying over to the desk to sit at her laptop.
The reporter continues, "Those helicopters are still surrounding the area. I don't know if
you can still see those bolts of lightning..."
Shoulder shot from Diana on the laptop as she opens a browser for the CNN website. Medium shot of Diana over the screen as we hear tapping. A beep draws her attention. Desk-level shot of the laptop's screen, displaying the time 11:29pm, meaning roughly half an hour remains before Martha is executed. We also see what looks like, "Monday, November." We can now see the headline of the frontpage CNN article...
Shoulder shot from Diana on the laptop as she opens a browser for the CNN website. Medium shot of Diana over the screen as we hear tapping. A beep draws her attention. Desk-level shot of the laptop's screen, displaying the time 11:29pm, meaning roughly half an hour remains before Martha is executed. We also see what looks like, "Monday, November." We can now see the headline of the frontpage CNN article...
Metropolis in the dark / power surges from ship
Power surge estimated 12hr shutdown - city gridlock
Other headlines in the list to the left are...
Wallace Keefe: The true story behind the DC bomber: Of course, this would be misleading. Only Lois and Lex know the the true story behind Wallace Keefe, so journalists who lack important information are now writing exactly what Lex wants them to write and passing it off as scoops.
Council set to approve tunnel under Stryker's Island: This is referencing a future plot point in Zack Snyder's Justice League.
Superman protests continue around the world: Even with Superman absent as far as the public knows, the continuing social upheaval demonstrates how eager people are to see Superman gone for good.
Belle Reve prison gets new warden: This is referencing Suicide Squad.
Near miss above Metropolis: Unknown. Possible reference.
Danger obscures underground geothermal aqueduct: Possible Aquaman reference.
Gallery: Fifteen dogs that look like Superman: Possibly a joke reference to Krypto the Superdog, in addition to being a funny jab at Buzzfeed-esque "list" journalism.
Strange signals from distant planets: This is an unknown, but it might insinuate that Lex has been communicating with alien life, possibly Steppenwolf.Diana swipes her finger across the pad and a notification appears for a new message from Bruce Wayne. Close-up on the notification, titled "Boys Share Too" in reference to the museum gala where Diana teased Bruce for boys having "no inclination to share." She hovers the mouse over the notification and selects it, opening the message...
Cracked Luthor's Drive, found your photograph.
But it doesn't belong to you.Return to Diana medium shot, lowering her gaze. Return to desk-level shot on the laptop as she scrolls down to the old World War I photo. Extreme close-up on the photo's lower left corner to see Bruce has more words below...
...it IS you.
Close-up on Wonder Woman in the old photo, pushing in. Medium
low-angle shot on Diana, placing a hand on her forehead, perhaps
concerned that Bruce has uncovered her secret. Close-up to beneath the
photo as she keeps scrolling to reveal more text...
Who are you?
Where have you been?Scrolling down further, there is an attached file called "Lex Corp - Meta Human Research". She opens it, and we cut out to reveal the same folder of icons Bruce opened. However, the format has changed somewhat, now with additional information based on dates, file sizes, and items in each folder. Each file was created on the 22 June 2015 and was last opened and modified on 24 June 2015. Push in on the icons.
1920//213_meta_human_alpha_WW
1920//213_meta_human_alpha_CY
1920//213_meta_human_alpha_FL
1920//213_meta_human_alpha_AQ
Nitpick: The attachment displays the file size is only 24
MB, yet the contents of the file are shown to be significantly larger,
with the Cyborg file being 503 MB.
Low-angle shot on Diana again, looking curious. Desk-level close-up
on her hand, swiping her finger. Return to the screen to see her open
the Flash folder, which contains several files..._FL_serveillence_camera_01
Redstreak_9201_74A
Redstreak_091_cam_04
Security_feed_store_cam
Redstreak_1039A_video_023
Redstreak_1039A_video_013
Close-up on her hand again, tapping the pad.
Return to see she has opened the top file. A video appears showing
a convenience store CCTV feed, cam 01, a high-angle above the
refrigerated drinks aisle. The checkout is up ahead. Diana plays the
video, and a man walks down the aisle away from us, placing his
basket on the floor at the far end. In the adjacent aisle, a hooded
man (Albert "Spider" Valladares, one of Knyazev's gunmen in the Batmobile chase and stunt double for
Henry Cavill and Ben Affleck) retrieves a Smith & Wesson Model 686 handgun from his person, backing up towards the checkout. Cam 04, a
reverse shot from down the drinks aisle on the young man, opening
the freezer door and bending in.
Cam 07, a high-angle over the checkout. Valladares suddenly
runs up to the desk with the raised pistol and yells at the clerk
(Ryan D'Silva), who frantically obliges his demands. Return to cam 04, where the
stranger stands up straight, having noticed the altercation, to
reveal his unshaven face and long, unkempt hair. Cam 07 appears
simultaneously. For a split second, the young man disappears in a
shower of sparks as Valladares is thrown aside in a storm of
electricity. In cam 4, Barry Allen, stands as though nothing
happened, and he closes the fridge door to step away. This is our
first introduction to Barry (The Flash) outside of his appearance
from the future.
Return to Diana, looking deeply intrigued.
Return to the main file repository. Now Diana opens the Aquaman
folder, containing the following files...
"So here's Ezra, and that's 'Spider' as the robber, who's a stuntman that I work with in a lot of my movies and he's an amazing athlete and actor so it's good to see him, and always great to have him on set." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
_AQ_researchShip_1a_231113She opens the top file, and a video pops up marked "TONGA TRENCH (21,582 FT)" from an aquatic drone (UUV Alpha 1) approaching the wreck of a ship. Two smaller drones are ahead, waving their lights over the rusty hull.
aq_resimg_105a.jpg
aq_resimg_105b.jpg
aq_resimg_105c.jpg
aq_resimg_113.jpg
aq_resimg_114a.jpg
aq_resimg_115.jpg
Cuts to one of them, UUV Alpha 2, closing on a large gash in the
bow of the ship, where two reflective eyes are visible in the
darkness. In a few seconds, the mysterious being reveals himself to the
probe. Covered in tattoos of fish-like scales, Arthur Curry emerges
with a quindent pointed at the camera.
Return to Diana, again looking curious and now anticipating.
Return to the probe footage. Arthur observes the probe for a few
seconds before shoving the long weapon into the camera, and the
footage fizzles away. Return to UUV Alpha 1 wide shot to see a projectile moving away from the wreckage at such a high
speed. The displaced water knocks the probe away like a
shockwave.
Return to Diana, lowering her hand, suggesting maybe this shot tied
into the earlier shot with her hand on her forehead.
"Here's the Momoa debut where he comes with his glowing eyes out of the wreckage of a ship. The concept here, to me, was he had trained with his mother's trident a couple times with Vulko but he wasn't keeping it himself, so Vulko kept the trident with him, and as needed, if they were training, he would get it from him, but always give it back, but he never took it up as a real mantle." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
JOURNAL ENTRY OF STONE, SILAS
LAB 3
TRIAL TEST V-102: [PROTOTYPE A1B - ALPHA]
PROPERTY OF S.T.A.R. LABS
The footage shows a scientist, Doctor Silas Stone (Joe Morton),
speaking into the camera and a tape recorder in his hand. In the
background is his son, Victor Stone (Ray Fisher), missing both his
arms and his entire body below the ribcage, leaving an unsettling
spinal column protruding from below. He is hooked up to countless
wires, and he lies on a large screen displaying his vitals and
biological data.
Cut to Silas now taking off his glasses. He puts his face in his
hands.
Another cut. Silas, in a medical gown, is near Victor's remains when
he turns, growling, and angrily removes his surgeon's cap to throw at
across the room with a yell of frustration.
Another. High-angle on the desk below us, where Silas is sitting.
Tired, he removes his surgeon's cap yet again and rubs his brow.
Another cut. Now Silas is in casual clothes, standing over a cuboid object on the
desk. It glows with energy as it shifts and moves. He is once again
speaking into a tape recorder, saying, "Dr Silas Stone suspending all clinical protocol." Return to Diana, looking thoughtful at this new
development. "US Gov, Object 6-19-82 is..." return to Silas, "successfully activated." This designation is a reference to the publication of Cyborg's
first debut date, June 1982.
Cut again. Silas is backing away from the cuboid object as it levitates off the desk and approaches Victor's body, shimmering with blue energy. Return to Diana, looking confused. Return to the video, where the object projects tendrils of energy at Victor, somehow grafting new mechanical limbs onto his remains. Victor screams in agony and Silas runs back to the desk to deactivate the camera.
Return to Diana, suddenly closing the laptop and standing, stepping out of frame.
Scene Overview
At her hotel room, Diana receives an Email from Bruce confirming
he knows about her immortality, but also gives her the meta-human
file from Lex's decrypted data, revealing the three other
meta-humans. This further builds the relationship between Bruce
and Diana while setting up the objectives of the next film.
Scene Analysis
In this world, meta-humans are portrayed not as mere superheroes
that pop up randomly, but as modern myths and urban legends. These
are more like sightings of UFOs, the Loch Ness Monster, or Bigfoot.
It is certain events and experiences that make these characters into
superheroes, but here, all we see is a diverse array of mysterious
people with supernatural abilities. LexCorp has been collecting
information on these extraordinary individuals. This all fits with
the grounded tone of the movie and the universe it resides in.
There is also the implication that the logos and names of these
superheroes will ultimately derive from these concepts. Wonder
Woman's logo, of course, is lifted directly from her armour, and
Flash's logo is possibly taken from photos of him in action,
assuming he has assumed the heroic role by now. The others were
presumably designed by Lex personally in accordance with his
dramatic perspective of meta-humans as the bases of our myths.
Snyder confirmed this intent, saying names like these would not
necessarily come from the superheroes themselves lest they seem
egotistical, but would be ascribed to them. This concept clearly
evolved between 2014 (when the scenes were filmed) and 2016
(when Zack Snyder's Justice League was filmed),
where Barry refers to Diana as "Wonder Woman", or Aquaman being
the reverent title given by sailors and fishing villagers, possibly
due to the rewrites after the release of Batman v Superman.
Zack Snyder: "Yeah, I felt like it was important to see, and then I realised the only way we could see them was in the same way Lex would see them. You can't really cut to them out in the world because what we're observing is the information that they're alive or that they exist. And so we thought long and hard about... kind of little snippets of reality might exist, or they might have brushed with our world in a way maybe they didn't want to, and that was where that decision came from, and I also felt like it allowed me to tease it in a sort of Loch Ness Monster, Bigfoot-y kind of way."
Chris Hewitt: "And the folders have the logos for each hero on them, which means that Lex is effectively the creator of..."
Zack Snyder: "I kind of like that! I mean, I know that's sacrilege, but I kind of love it. I like thinking about it in this really straightforward way, that you can imagine, sort of as a naming convention, 'Wonder Woman' really would not have gotten her name from anyone other than someone who was trying to file her somewhere, right? 'Flash' feels like the same thing, and 'Aquaman' certainly feels like a pretty straightforward approach to that, and 'Cyborg' also. I mean, when you think about their actual names, though iconographic, it's kind of the first thing you think of, you know? It's not like they went down a giant rabbit hole with the naming convention." [Laughs]
Chris Hewitt: "So what's your name? 'Oh, I'm Wonder Woman! That's my name!'"
Zack Snyder: "'I named myself that!'"
Chris Hewitt: "'I've got a massive ego!'"
(Empire Film Podcast, 30 March 2016, 00:13:08)
Musical analysis coming soon.
Behind the Scene
 |
| Early concept prototype Flash suit. Jerad S Marantz, ArtStation |
 |
| "Vintage... August 2nd 2014" Zack Snyder, Vero, 4 May 2018 |
The location and shooting date for Diana's hotel room is
unknown.
Around April 2014, the production was scouting locations in the Detroit area for a store robbery scene. On 21 May, C
& G Newspapers first reported the chosen location was LakePointe Market liquor-deli, 3159 Orchard Lake Road, Keego Harbor,
Michigan. The sequence was filmed the morning of the 15th, and Daily Superhero confirmed the scene on 16 June. Concept artist Jerad S Marantz confirmed an
early idea for this sequence would have put Barry in a prototype
Flash suit sans the lightning bolt logo. You can see the full visual concept for the suit here and more of his incredible work at his ArtStation. It was Marantz who developed the initial costume concepts
before passing the design off to Constantine Sekeris
to keep building on, who then passed it to Ian Joyner to develop the final design seen in Zack Snyder's Justice League.
The Aquaman sequence was shot in an underwater green screen
constructed at the late Michigan Motion Picture Studios along Centerpoint Parkway, Pontiac, Michigan. The sequence
was shot in June or July 2014 when the crew were filming in Pontiac.
Filming was done with Dorsalfin Productions' underwater director of cinematography, Ian Seabrook, a professional underwater cameraman, whose demo reel can be
seen here, and
you can find interviews with him from Underwater Podcast and Dive Photo Guide. Zack Snyder revealed
the first photo of Aquaman on 20 February 2015 on Twitter after filming in Bora Bora,
and later posted
a test photo
to Vero on 4 May 2018.
"For the hero shot of Aquaman, Jason was photographed in an underwater green screen environment. We created the sunken ship environment including the sea life and observing ROVs. Additional treatments were done to give him some small details like his reflective cat eyes when in the dark. For the wide shot of him leaving Zack wanted Aquaman to be able to take off with a force analogous to Superman’s flight in the air. Our fx team ran simulations to show the detritus and plankton in the water reacting to this impulse energy and the cavitation effects caused by his rapid acceleration." (Bryan Hirota, Art of VFX, 11 April 2016)
Snyder confirmed in the director's commentary (2:01:35) that the
STAR Labs set they built for Cyborg's cameo was used to film Zack Snyder's Justice League. The location and shooting date is unknown.
When these sequences were filmed, Ezra Miller, Jason Momoa, and Ray
Fisher were not publicly cast as their respective superheroes yet.
In fact, on 9 December 2013, Momoa
was reported in talks for an unknown role in Batman v Superman, but
later denied any such role a month later. They were officially confirmed
on 15 October during a Time Warner investors meeting revealing
the full slate
of ten upcoming DC films and their attached leads.
Fight Night
Prelude
Low-angle shot circling around Batman, the Bat-signal in the black background of the sky. He is looking up, still patiently waiting for Superman.
Then we hear Lois, almost panicking as she yells, "I need a chopper to Gotham!"
As she steps aside, Perry comes into view, looking bemused. Behind him are the flashing lights from the spectacle at the scout ship. He steps over to Lois, almost yelling, "Chopper? We can barely afford a bicycle. You wanna chase a story?" He turns to point back out the window in his office. "Go to the ship. Superman's probably there already."
Turning from Jenny, Lois turns to face Perry in the eyes and deadly seriously says, "Perry," she takes a deep breath, "it's not for a story."
Perry looks at her for a few moments. He soon realises how serious she is, calms down, and turns to Jenny to order, "Jenny, get her a chopper to Gotham."
Lois turns and runs back down the aisle of office desks and cubicles,
slipping her jacket on as she runs.
At the same time, Perry continues to Jenny, "And forget the heliport. Put it on the goddamn roof." He calls after Lois, "On the roof, Lois!"
This is a nice continuation of their relationship. Lois and Perry trust each other, and Perry can clearly see that this is something personal for Lois. He does not ask why she needs to go to Gotham, but he answers her request regardless like a great friend. We have also gotten a reminder that the Daily Planet is struggling financially. Lois heading to a chopper on the roof might also be a reference to the helicopter rescue scene from Superman (1978), but instead of heading to a helicopter on the roof to be rescued by Superman, she is going to rescue Superman. Both choppers are red too.
This is a nice continuation of their relationship. Lois and Perry trust each other, and Perry can clearly see that this is something personal for Lois. He does not ask why she needs to go to Gotham, but he answers her request regardless like a great friend. We have also gotten a reminder that the Daily Planet is struggling financially. Lois heading to a chopper on the roof might also be a reference to the helicopter rescue scene from Superman (1978), but instead of heading to a helicopter on the roof to be rescued by Superman, she is going to rescue Superman. Both choppers are red too.
Cut to the roof of the Daily Planet on Lois running to the red
Eurocopter EC120B Colibri. The rotors are spinning and the pilot
is ahead, moving around from the open pilot's door to the
passenger's side. He turns to Lois and asks, "Where are we headed?"
Lois comes to a stop. She turns and points to the horizon. Rack
focus to the Metropolis skyline, partially obscuring the Gotham
skyline beyond. In the distance, the Bat-signal lights up the
horizon amid ominous flashes of
lightning. "There!" she yells.
Batman v Superman
High-angle on Batman, clad in his armour, looking up with his glowing
blue eyes. Lightning flashes and rumbles.
Low-angle shoulder shot from Batman on the dark sky as the rain pours
down. Another flash of lightning highlights the silhouette of
Superman. A god above a man. In addition to being reminiscent of a similar panel
from The Dark Knight Returns, this might be a visual parallel to
other shots from the film...
- It resembles the imagery from the opening, where young Bruce looks up at the entrance to the shaft he fell down, likely representing Superman as the light that Batman has lost. The beautiful lie of his dream is that the Batman persona raised Bruce to that light that Superman represents, as Batman discovers with his later sacrifice.
- It mirrors the earlier visual of Superman looking down at the flood survivors. Now, from Batman's perspective, Superman is here to destroy him, but for Superman, he is still here to save lives. The shot represents Superman as a silhouetted figure, not as a person, further reinforcing Batman's views and mirroring the public perspective of him.
- Zack Snyder confirmed this comparison, equating it to the comparison between a benevolent god and "a vengeful, wrathful god," the two perspectives for how people see Superman. "That's the way Batman sees him, but in truth, Superman has come pleading for Batman to help him."
- It might resemble the shot of Superman's arrival to the LexCorp helipad where Lex is waiting for him, likely drawing yet another comparison between Lex and Bruce. Both see Superman this way, as a being who sees himself above mankind and must be brought down. Shortly after both of these shots, both characters succeed in putting Superman beneath them.
The Man of Steel brings himself down hard and fast, landing with a thud
on the wet ground, cracking it. Batman is unflinching at this terrifying
display. Whether as a show of force to show he means business, or because he does not realise how he looks to Batman, this display is counterproductive to Superman's goal of gaining his help, as this is precisely why Batman hates him.
With a smile, Batman spreads his arms and says,
"Well, here I am," showing his confidence in his complete disregard
for Superman's earlier threat, "Next time they shine your light in the
sky, don't go to it."
Contrasting his impressive arrival, Superman looks desperate in the rain, and pleads, "Bruce, please." He steps forward.
Contrasting his impressive arrival, Superman looks desperate in the rain, and pleads, "Bruce, please." He steps forward.
Realising Superman knows who he is, Batman's smile vanishes, and he steps
back, luring Superman into position. His heavy boots thud against the
ground.
"I was wrong," Superman says.
"You have to listen to me. Lex wants us to--"
Suddenly, he steps on a tile that clicks loudly beneath his boot. Two sonic emitters emerge from either side of Superman from below the stone fences. Both begin to pummel him with high-frequency sound waves from either side. He groans and winces, the rain being forced against him by the sheer pressure of the waves.
Suddenly, he steps on a tile that clicks loudly beneath his boot. Two sonic emitters emerge from either side of Superman from below the stone fences. Both begin to pummel him with high-frequency sound waves from either side. He groans and winces, the rain being forced against him by the sheer pressure of the waves.
Batman smiles again.
Thinking smart, Superman reaches down to grab a manhole cover, ripping it
in two before throwing the pieces at both emitters. Both are destroyed by
the collisions, sparking out.
Taking a breath of relief, Superman persists forward, growling,
"You don't understand!" Batman also starts walking forward.
"There's no time!"
|
| Official Promotional Image |
Wide shot of the two superheroes approaching each other. Side
two-shot on both of them, meeting face-to-face as Superman stops him
with a hand to his chest. Literally shaking with anger, Batman growls, "I understand!"
Done with Batman's attitude, Superman effortlessly throws him back
some distance with a light shove, an impressive demonstration of the
sheer difference in power between the two. Flying nearly sixty
feet, Batman skids to a stop down the alley, groaning painfully as he
labours to prop himself back up.
Superman continues forward, but comes to a stop as we hear machines
whirring. In a nearby metal container, two automated machine gun turrets (a modified .50 calibre and belt-fed M240) ascend to
begin firing armour-piercing rounds at Superman. He shields his face from
the hail of bullets bouncing harmlessly off his body or churning up ground. On the opposite side of the alley, a double-barrel turret is also
firing at him.
Scowling and sick of the annoyance, Superman stands tall and levitates high
into the air. Eyes glowing red, he sweeps his heat vision across the alley,
incinerating the banks of machine guns and carving a wall of fire. Samuel Otten pointed out that this might be a callback to the Knightmare, where Superman
incinerated the resistance fighters on either side of Batman. Here,
Superman is responding to an unprovoked attack, contrasting his actions
with those of his future self, yet Batman will still fail to understand
that.
Then he deactivates his heat vision and turns his fiery eyes toward Batman.
This ominous look of anger is a glaring declaration that Superman has given up on trying to
negotiate, and now he must beat Batman into listening. Recall the words of Adriana Santos: "A man like that, words don't stop
him. You know what stops him? A fist." That is the wrong lesson Superman
has learned, and now the animosity the two characters have developed
throughout the film has taken over this fight.
|
|
"Big movies call for big, real effects. All night long!" Clay Enos, Twitter, 13 June 2016 |
Batman struggles back to his feet. Armour reflecting the light of the
inferno, he breathes hard as he stands and waits.
We pan around him, and Superman comes into view ahead. His cape flows
behind him, indicating he has just landed. Silhouetted by the inferno
behind him ominously visualising that his patience has run out and anger is taking the lead from
here, Superman walks forward threateningly. Batman seems frozen in fear, possibly due to his recollection of the
Knightmare. In both sequences, Superman arrives hard and uses heat vision
on targets on either side of Batman before threateningly
approaching.
Then Superman grabs him by the chest of his armour and hoists him into the air, leaving a lingering impression of his hand in the alloy from here on. He effortlessly tosses Batman to the right, sailing down the street nearly fifty yards before grinding to a halt after ploughing through asphalt.
Groaning, he turns onto his side, and we circle around him to see
Superman land nearby. This is all one shot from seeing him fly down the
alley, showing that Superman closed that distance very quickly. He steps
around the Dark Knight's left, watches him stand, then flies into him,
carrying Batman upwards and crashing into the façade of Wayne
Station.
They burst out onto the roof, flying forty feet above before Superman
hurls his foe into the Bat-signal, shattering it. After saying in the
opening, "In the dream, [the bats] took me to the light," Bruce has been
literally tossed into the Bat-signal the light symbolically represents.
Batman crashes through the corner of the parapet, peering over the edge of
the building. This may be metaphorical of how his character has come close
to descending over a precipice, which he nearly would have by killing
Superman soon. Of course, it is Superman who brings them up, a possible
symbolic representation of what he ultimately does for Batman in this
film, soon adding to the falling motif by having both characters descend
further throughout their battle.
As Batman lumbers to his feet, Superman lands slowly but firmly. He yells, "Stay down! If I wanted it, you'd be dead already."
The Dark Knight is not listening, and retrieves one of his lead smoke grenades, set up earlier during the preparation montage with the periodic symbol for lead "Pb" on the canisters. Slowly and calmly, he pulls the pin and tosses it onto the roof, exploding in a thick grey plume that fills Superman's vision, fully obscuring the Dark Knight.
As Batman lumbers to his feet, Superman lands slowly but firmly. He yells, "Stay down! If I wanted it, you'd be dead already."
The Dark Knight is not listening, and retrieves one of his lead smoke grenades, set up earlier during the preparation montage with the periodic symbol for lead "Pb" on the canisters. Slowly and calmly, he pulls the pin and tosses it onto the roof, exploding in a thick grey plume that fills Superman's vision, fully obscuring the Dark Knight.
Unable to see through the lead, Superman dashes forward and clears the
smoke, but Batman is nowhere to be seen. Superman turns his head,
listening, and we see over his shoulder Batman is now behind him, aiming
his black FN MK 13 EGLM grenade launcher.
Behind the Scene:
"We made [the Kryptonite grenade] with spring-loaded elements, so that when it springs open in his hand, and shows a series of gas ports and a light within, and then visual effects adds a gas element to it. We made those so that the actor could activate them in his hand or we had a cable release so that in case he couldn't move his finger in a close up, we could just pop it open for him." (Doug Harlocker, Tech Manual, p71)
With a satisfied smile, Batman holsters the grenade launcher. As Superman
struggles to cough up the gas, his adversary circles him. He says with his distorted voice, "Breathe it in. That's fear."
Just as the gas begins to evaporate, a fearful Superman turns to Batman.
"You're not brave," continues the vigilante, coming to a stop.
With the gas dissipating and allowing Superman to breathe, he glares before throwing himself at Batman with a wild right hook to the face. Batman easily blocks with his left forearm with a loud metallic clank. Instantly, we feel how the tables have turned. A moment ago, this mere mortal was nothing to Superman, but now Batman has taken his own powerlessness and forced it on his foe, literally taking Superman's powers from him. Again, recall the words of Adriana Santos: "Men like that, words don't stop him. You know what stops him? A fist." Now a fist is not working out so well.
"Men are brave." Note that Batman's taunts put emphasis on how he sees Superman as something other than a man, rather than focusing on his normal justification for killing Superman out of fear that he might be a threat to mankind, and thus reinforcing that they are more excuses. This all sets up the big revelation. Furthermore, Superman will disprove Batman by the end of the film, bravely sacrificing his life to save humanity.
 |
| Official Promotional Image |
 |
| "Batman, Superman, IMAX, rain. This is some big movie stuff!" Clay Enos, Vero, 7 July 2016 |
In a totally unexpected turn of events, Superman is surprised to find his
arm will not budge against Batman's, looking afraid now as he glances
between his foe and their connected forearms.
Superman then pulls back, jabbing for Batman's face with his other arm. Batman dodges while pushing the arm aside.
Superman tries an uppercut with his right, but Batman keeps his fist down
and counters with a headbutt from his solid helmet, inducing a pained yell
from Superman as he staggers back. This exchange has been said to resemble
Superman's fight with Zod in Man of Steel as cars fell around
them, suggesting Batman analysed Superman's style (or lack thereof) through the video footage seen earlier.
Batman winds up his right and throws a jab to Superman's face,
splattering rainwater.
Batman gives him a second, allowing Superman to throw a right punch, only
to meet the solid alloy of Batman's thick armoured gauntlet and hurt his
hand, pulling it back and wincing.
Batman repeats the wound-up right jab, dazing Superman for a moment.
Batman repeats the wound-up right jab, dazing Superman for a moment.
Batman grabs Superman by the shoulder and pulls his stomach down into the
Dark Knight's right knee.
Batman elbows Superman in the neck, choking him for a moment.
Batman spins and delivers a roundhouse kick with his right leg that sends
the other superhero flying twelve feet before crashing down on a skylight
window, too hurt to move.
Batman stomps ominously toward the downed Man of Steel, boots
thudding against the ground further, setting up a sense of their
weight for Batman's imminent stomp.
Superman is still stunned, but weakly lifts his head to see Batman
pick up his pace and break into a run. He leaps up above Superman,
stomping down on him with 480 pounds to crash them both through the
skylight and into the top floor room below.
Superman hits the floor as Batman lands his stomach. He lets out a pained
wail as the air is forced from his lungs. As Batman steps off his prey,
Superman's face is contorted in agony. This was painful to watch, and
Cavill's acting here stunningly conveys a sense of absolute physical
suffering with just an expression.
Batman does not let up, and follows with a kick to Superman's side that
throws him across the room.
On all fours, Superman tries to stand, but Batman comes in with a kick to
the face, knocking him onto his back.
Persevering, Superman tries to stand yet again, but only reaches his knees
before Batman winds up another right jab to the face, then follows with a
left uppercut, beating him senseless.
Batman throws a right hook, but Superman actually blocks this time,
frantically shielding his face with his arms.
Batman throws a left shovel hook into Superman's stomach, and the Man of
Steel moves his hands down to cradle his midsection.
With an opening, Batman seizes Superman by the throat with his right hand,
slams his skull into a wall, headbutts him again, and finally takes him down
with powerful left hook.
Batman grunts with effort as he swings a furious right kick with his
armoured leg at Superman's head, but Superman catches his foot inches from
his skull.
Superman swings Batman over his head and clean through a plaster wall.
Batman lands, rolls, and hits a wall hard, heavy in his metal bear suit.
He grunts from the impact.
On all fours, Superman look up at the hole in the wall. A rear shot shows him stand dramatically, rising behind his red cape, the hole in the wall ahead of him. The shape of hole resembles Ontario, USA, an intentional reference to the birthplace of Superman co-creator Joe Shuster. (Source)
On all fours, Superman look up at the hole in the wall. A rear shot shows him stand dramatically, rising behind his red cape, the hole in the wall ahead of him. The shape of hole resembles Ontario, USA, an intentional reference to the birthplace of Superman co-creator Joe Shuster. (Source)
"I always felt like this hole in the wall looked like a shrimp." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
|
| Albert Valladares, Instagram, 18 May 2018 |
Batman, looking back the way he flew, gets back up too.
Superman charges, running at the hole in the wall and barrelling through
the remains of the wood and plaster. Batman does the same, charging from a
kneeling position.
Superman takes flight as he nears his enemy, flying dramatically until
Batman catches him in the air and swings him into a wall. He immediately begins pummelling Superman in the face with right punches,
five blows connecting effectively in the jaw, until the sixth and seventh
punches, where the slap of metal on flesh transitions to the clang of
metal on metal as Superman gradually become immune to Batman's powerful
attacks.
Eyeing his armoured gauntlet in realisation of his ineffectiveness,
Batman starts backing away.
Superman gives him a menacing look.
Raising a hand defensively, Batman is helpless as Superman rises into the
air and throws himself upon the Dark Knight, flying them both through the
floor and into the abandoned men's restroom below.
As Batman tries to recover, Superman stands first, grips Batman by his
armour, struggles for a moment, then yells with exertion before tossing
Batman through a row of tiled urinal partitions, landing on his back at
the far end of the room.
Soaking wet from the water dripping down from above, Superman pushes
himself up from the tiled floor into a kneeling position.
Groaning, Batman lifts his head and empties the chamber on his grenade
launcher. These were Snyder's hands, having their own cameo.
Superman looks ahead at Batman and balls his hand into a fist, possibly
intended to resemble Thomas Wayne clenching his fist in the opening. Both
characters are just trying to defend their families.
Batman frantically loads another round into the chamber.
Superman charges off the floor at Batman with a roar, racing to stop
him.
Batman finishes loading the round.
 |
| Official Promotional Image |
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| "Batman, Superman, IMAX, rain. This is some big movie stuff!" Clay Enos, Vero, 7 July 2016 |
As Superman takes flight across the room with the subtle hum of the World
Engine, Batman aims the grenade launcher and fires. Green mist explodes in
Superman's face an instant before he comes crashing down beside Batman,
knocking the armoured vigilante aside.
Behind the Scene: Stuntman Ryan Watson posted this video to his Instagram showing stunt pre-visualisation of this sequence with some additional details.
Batman's thick metallic cowl is damaged, sparking with electricity around
his exposed left eye. Snyder confirmed in the director's commentary
(1:08:28) that this was a Phantom of the Opera and
Robocop (1987) homage, likely in how a character's underlying nature
is revealed through the removal of their masks. While Superman rolls onto
his back helplessly in the toxic cloud, gasping for clean air.
"I guess that gets a shot in on the helmet, kind of breaks it, which is also symbolic. I like this idea that Batman's mask is being removed and revealing his true nature. His face is literally not hidden anymore, so this is really his true intent." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
Batman looks over at his stunned enemy before getting to his feet,
turning, and ripping a sink basin from its porcelain pedestal. With his
new weapon, he stalks toward the writhing Kryptonian.
Superman climbs over onto all fours while Batman stands over him, watching
his feeble attempts to get up. Barring his teeth, Batman roars and swings
the sink basin up before bringing it down hard on the back of Superman's
skull, knocking him unconscious. This is a visual gag: "Everything but the
kitchen sink," is an expression that basically means "anything that is
available," hence Batman is throwing everything he can at Superman.
Behind the Scene: The sink was a soft Styrofoam object digitally transformed in post-production.
Batman grabs him by the neck of his cape, pulls him up, yanks his head back
painfully by the hair, and hoists Superman by the throat, awkwardly bending
his back over Batman's armoured shoulder with a faint crack of spine.
Batman carries Superman's limp body through the men's restroom, possibly
intended to resemble imagery of Chris carrying the cross, making Superman
into Batman's cross. As they exit the restroom and approach the balcony
over a deep atrium through the centre of the building, we can see graffiti
on a wall saying in Latin "Quis custodiet ipsos custodes?"
roughly translating as "Who watches the Watchmen?"
Another Watchmen reference, though the Latin version of
the quote is derived from the Roman poet Juvenal, which is precisely where
that story's title and themes originate from.
"That's Latin for 'Who watches the Watchmen?' which I thought was an appropriate time to do a Watchmen reference, and seeing these two characters who could do so good and whose morality, credo, or thesis was to help, and here they are trying to kill each other, I thought it was a really poignant time to ask that question." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:09:09)
Then Batman tosses Superman down the shaft, falling approximately eight floors before landing in the ground floor lobby with a crash on a pile of old rusty radiators with a long, agonised shriek. Lightning flashes. The shaft through the building is octagonal, like the corridor Lex walked down to the scout ship, and the camera angle is a perfect callback too, referencing a shot from 2001: A Space Odyssey. This recurring motif may also reference the Taoist cosmological Bagua symbology. Reel Analysis discusses the theory in this video.
Tom Holkenberg (Junkie XL) said that seeing Superman fall down through the
building reminded him of the 1958 Alfred Hitchcock film Vertigo, and used that inspiration for the music that accompanies the fall.
Batman aims and fires the Bat-claw above, penetrating a wooden ceiling beam. He then rapels down the shaft. This might be more falling symbolism, with Batman metaphorically bringing Superman down to his lowest point, into the darkness where a meaningless death awaits. But where Superman has fallen against his will, Batman descends willingly.
Through his malfunctioning voice modulator, the Dark Knight monologues, "I bet your parents taught you that you mean something. That you're here for a reason." Of course, Jonathan Kent said precisely that in Man of Steel: "But you're not just anyone, Clark, and I have to believe that you were sent here for a reason," which Jor-El confirmed. "My parents taught me a different lesson..."
Superman recovers just enough to reach for the cable around his ankle, struggling.
"Dying in the gutter. For no reason at all."
The vigilante slams a button on the Bat-claw, and the cable jerks a yelling Superman toward Batman as he swings the helpless superhero through the air counter-clockwise around the room, crashing through the two huge concrete columns beside the giant centre window, although multiple shots show this from different angles, which can lead one to think four columns were destroyed. With a final yell, Batman sends Superman's skull slamming into a concrete slab, groaning in pain.
Batman tosses the grappling gun aside and says, "They taught me the world only makes sense if you force it to." This is existentialist thinking. In his quest to make a tangible difference in the world after twenty years of what he believes was a pointless war on crime, Batman needs to force meaning into a world that lacks any, and killing this grandiose alien will be the greatest act of empowerment for him. It is also a reference to The Dark Knight Returns...
Batman aims and fires the Bat-claw above, penetrating a wooden ceiling beam. He then rapels down the shaft. This might be more falling symbolism, with Batman metaphorically bringing Superman down to his lowest point, into the darkness where a meaningless death awaits. But where Superman has fallen against his will, Batman descends willingly.
|
|
"Those were some cold nights in a magnificent building." Clay Enos, Vero, 18 July 2016 |
Batman lands in the lobby before the downed superhero and unclips the grappling gun from the
cable, tosses it aside, and draws another length of cable which he
wraps around Superman's left ankle. Too stunned to do anything,
Superman groggily shifts his head before as Batman picks up the
Bat-claw and drags him from the pile of debris onto the floor, towards
the general waiting room.
Through his malfunctioning voice modulator, the Dark Knight monologues, "I bet your parents taught you that you mean something. That you're here for a reason." Of course, Jonathan Kent said precisely that in Man of Steel: "But you're not just anyone, Clark, and I have to believe that you were sent here for a reason," which Jor-El confirmed. "My parents taught me a different lesson..."
Superman recovers just enough to reach for the cable around his ankle, struggling.
"Dying in the gutter. For no reason at all."
The vigilante slams a button on the Bat-claw, and the cable jerks a yelling Superman toward Batman as he swings the helpless superhero through the air counter-clockwise around the room, crashing through the two huge concrete columns beside the giant centre window, although multiple shots show this from different angles, which can lead one to think four columns were destroyed. With a final yell, Batman sends Superman's skull slamming into a concrete slab, groaning in pain.
Batman tosses the grappling gun aside and says, "They taught me the world only makes sense if you force it to." This is existentialist thinking. In his quest to make a tangible difference in the world after twenty years of what he believes was a pointless war on crime, Batman needs to force meaning into a world that lacks any, and killing this grandiose alien will be the greatest act of empowerment for him. It is also a reference to The Dark Knight Returns...
"You sold us out, Clark. You gave them the power that should have been ours. Just like your parents taught you. My parents... taught me a different lesson... lying on this street, shaking in deep shock, dying for no reason at all. They showed me that the world only makes sense when you force it to." (Batman, The Dark Knight Returns, 1986)
"'If you force it to,' which I think sums up, philosophically, [Batman's] come to this notion that he can only live in a world that he forces into a morality that he can justify, but in the end, he's about to discover, his actions can easily go too far and he can become what he observes and hates, the very thing he's fighting against. In this sequence, he's basically turned into the murderer of his parents in a way because he's allowing them to kill Martha, so is he responsible for the death of Martha? He's blinded by his hatred." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)Then he removes the spear from the ground and approaches the downed Superman. As the length of the spear extends, the mineral is now burning bright, reaffirming that Kryptonite glows brighter in the presence of a Kryptonian. This shot also mirrors the shot from Bruce's dream where he carried flowers to the tomb of his parents. Where once he carried a representation of his love for his parents in his left hand, now he carries a weapon of death in his right hand -- literally a case of the duality of (Bat)man. Or it represents how he carries grief in one hand and hate in the other.
Scene Overview
Lois arrives at the Daily Planet, frantically asking for a helicopter to
Gotham, which Perry obliges, further developing their friendship while
re-energising anticipation for the imminent battle between superheroes
after the brief pause of the prior scene.
In Gotham, Superman arrives asking for Batman's help. Enduring the Dark
Knight's bothersome attacks, he gives up on reason and resolves to beat
Batman into submission, which proves fruitless as the vigilante employs
Kryptonite attacks, using a full range of gadgets and skills to humiliate
the weakened superhero while the clock ticks. Emerging the victor,
Batman's cruelty and hate are put on full display.
Scene Analysis
The scene is exactly 7m40s from the moment we see Batman looking up at Superman to the end of the Kryptonite spear shot, calculated down to the frame. In comparison, this is 2m9s longer than Superman versus Zod in Man of Steel if we go from the moment Zod charges Superman to the moment his neck is snapped (5m31s), or 2s shorter if we go from the moment we see Zod kneeling in the rubble to the frame before the desert scene (7m40s), but that added time is purely Zod's monologue or aftermath.
Batman decked out in heavy armour and Superman deprived of his
powers makes the characters heavy and slow, giving the battle a
brutal physical weight that distinguishes it from the movie's more
fast-paced action sequences. It is a ruthless back-and-forth between
the two superheroes where Batman's victory means the death of
Superman and Martha Kent, while Superman's victory increasingly
seems to depend on killing Batman in order to save his mother. The
scene is given additional tension by the fact that Martha's life is
on the line and the clock is ticking. Below is a step-by-step breakdown of the battle...
- Batman uses sonic blasters that Superman destroys using a sewer cover. Some dialogue.
- Batman hits Superman with automated machine gun turrets that he destroys with heat vision.
- Superman throws Batman once before dragging him through the building onto the roof.
- Batman distracts Superman with lead gas before hitting him with a Kryptonite gas grenade. Batman taunts.
- Batman begins beating Superman brutally with a combination of diverse punches, kicks, and blocks.
- Batman stomps Superman through the skylight before beating him some more, slamming his head into a wall, and knocking him to the ground.
- The Kryptonite wears off and Superman throws him through a wall.
- They charge each other and Batman tries punching Superman again in the face, but this time there is no effect.
- Superman shoves Batman through the floor and tosses him through several bathroom cubicles.
- Batman hits Superman with another Kryptonite gas grenade before Superman can press the attack.
- Batman knocks Superman out with a sink before tossing him down to the ground floor.
- Batman swings Superman through several large pillars before preparing the Kryptonite spear for the final blow.
All Superman has done here is throw unthinking punches and toss
Batman around. A brawler without any skill, exposure to Kryptonite
leaves him completely helpless against Batman, a trained martial
arts master who easily deflects every attack and counters with
devastating strikes of his own. It really shows off the difference
between their sense of combat.
Batman's brutality reaches a peak here, making every effort to prolong Superman's suffering -- a display of man's superiority over the alien. His dialogue has further expanded his character by allowing us to see his mindset leading up to the following revelation, taunting Superman by dehumanising him. The moment of the kill can only be savoured with a weapon as appropriate as a spear. At the same time, Superman's mistakes have reached a head. Assuming Batman can only understand violence, he gives up on reason at his peril, only to find that a fist cannot stop men like this.
Batman's brutality reaches a peak here, making every effort to prolong Superman's suffering -- a display of man's superiority over the alien. His dialogue has further expanded his character by allowing us to see his mindset leading up to the following revelation, taunting Superman by dehumanising him. The moment of the kill can only be savoured with a weapon as appropriate as a spear. At the same time, Superman's mistakes have reached a head. Assuming Batman can only understand violence, he gives up on reason at his peril, only to find that a fist cannot stop men like this.
The scene relishes in its dramatic absurdity. With the ominous flashes of lightning, pouring rain, and the accompanying angry soundtrack, the scene fully embraces a fantastical, even campy tone. It is utterly over-the-top, and the movie knows it.
This step-by-step analysis video by The Film Exiles points out many possible visual references
to The Dark Knight Returns (and its animated
adaptation) layered throughout the scene, along with the older
Batman and Superman films, other comics, and even games. It also
branches out to cover the Martha scene as well.
The battle also has clear parallels to Excalibur. In one scene, Arthur, dressed in black, jousts with the shining
Lancelot on horseback. Arthur is knocked from his horse and demands
that Lancelot face him sword-to-sword. Lancelot, from a position of
advantage, steps down from his horse and fights Arthur on equal
terms, appealing to Arthur that he is not his enemy, but Arthur is
full of rage and refuses to see reason. Later in their fight, Arthur
uses the power of Excalibur (glowing green) to win the fight when it
appears that Lancelot has won.
You can watch the full battle in HD with the full IMAX aspect ratio of 1.43:1 on the
official Warner Bros Entertainment YouTube channel. Check here for an official technical breakdown of the in-universe physics
of the (theatrical cut) scene.
Musical analysis coming soon.
Behind the Scene
Based on physical evidence and quotes, the Daily Planet was shot in a
retrofitted office space at 2000 Centerpoint Parkway, Pontiac, Michigan, in the late Michigan
Motion Picture Studios, a former General Motors building just across
the street from the location used for LexCorp. Those with a keen eye for set design may notice a significant number
of changes since Man of Steel, implying the building has
been heavily remodelled. Updates were inspired by old photographs of the Chicago Tribune. A row of televisions
across the walls makes current news updates a constant presence in the
scenes here. Lois and Clark can see each other from the placement of
their desks. Electrician Erica Kim got a photo from inside. The location was sold to Williams International in 2017, when the studio held a garage sale for props.
The exterior and lobby of Wayne Station was filmed at Michigan Central
Station, 2198 Michigan Avenue, Detroit, Michigan. Key second assistant
director Misha Bukowski visited the location in December 2013, and key specialty costumer Douglas J Stewart was there in April 2014. Construction and filming started in September around the 17th, Lois' arrival via helicopter was shot on the 20th, and filming continued until the 26th. The shoot was covered by MLive (with photos) and WXYZ-TV Detroit (with video). A local visited the set in the day. During their time shooting, innumerable stunning
photos of the location were taken and posted by Zack Snyder [1/2],
set photographer Clay Enos [1], key specialty costumer Douglas Stewart [1/2/3/4/5/6/7/8], and Kate
Altair [1/2].
The roof of Wayne Station was a two-storey set built on a soundstage
at the late Michigan Motion Picture Studios along Centerpoint Parkway,
Pontiac, Michigan. The lower level was used for the interior fight
sequences. The atrium through the building was likely shot at The
Farwell, 1249 Griswold Street, Detroit, Michigan, on an unknown
date, abandoned at the time but now a luxury apartment complex. According to Set Decorator Carolyn Loucks, the Bat-signal is a repurposed military spotlight.
Albert Valladares and Richard Cetrone were Henry Cavill's and Ben
Affleck's stunt doubles. At times, either the armoured Batsuit's eyes
blinded Affleck or Cetrone, or the eyes were left open with LEDs
arranged around the socket to have the full brightness digitally
inserted in post-production. Check here for an official snippet at the filming process for the fight scene,
courtesy of Loaded Online. Innumerable technologies were used to convert Ben Affleck in the armoured
Batsuit and Henry Cavill in the Superman costume into digital doubles, and
"EnviroCam" technology initially created for Man of Steel
was used to capture the sets as fully digital environments giving the VFX
artists great freedom. The scene jumps seamlessly between both fully
computer-generated and live-action visuals on a whim without the notice of
the audience. You can find exact details from VFX supervisor Guillaume
Rocheron of MPC in his interviews with Art of VFX, fxguide, and 3dtotal. Zack Snyder [1], Henry Cavill [1],
Valladares [1/2/3/4], and set photographer Clay Enos [1/2/3/4/5] shared videos and photos of the shoot.
Deleted Dialogue: According to Batman v Superman: Dawn of Justice - Official Trailer 2, Batman has a deleted line of dialogue where he says "It's time you
learned what it means to be a man." Presumably, it was somewhere in this
scene.
In the Wayne Station lobby. Batman moves threateningly over to the downed
Superman, emerald spear in hand.
"It's way past time you learned what it means to be a man." (Batman on Superman, The Dark Knight Returns)
Save Martha
External high-angle shot of the building. Lois' helicopter descends in
the foreground over the pillar of smoke rising from the flames left in
the wake of Superman's heat vision.
Low-angle shot on the descending red chopper, panning down to watch it
land.
Interior shot of the chopper to see Lois slide open the door as quickly
as she can and jump out.
High-angle shot from an empty window of the decrepit building to see
Lois make a beeline for the entrance while the helicopter takes
off.
Using his armoured boot, Batman rolls Superman onto his back,
groaning.
Tone full of contempt bordering on disgust, he says, "You were never a god," echoing Wallace Keefe's "False God" vandalism. He raises
his leg.
Batman plants his giant metal boot on his adversary's throat, causing
him to further grimace, but he is too weak to fight and
chokes. @ImperiousLex on Twitter suggested that this shot might be a parallel to the shot of Martha Wayne
before Joe Chill shot her in the throat, which would be comparing
Batman to his parents' murderer in accordance with the scene's
intent.
Shaking, Batman continues, "You were never even a man." This
concludes his monologue from the previous scene, making these his final
message to his prey. They emphasise how Batman sees Superman as something
inhuman and unworthy of moral consideration, rather than focusing on his
normal justification for killing Superman out of fear that he might be a
threat to mankind, reinforcing that they are more excuses. This all sets
up the big revelation.
"You're letting him kill Martha!" Superman says, struggling to
speak with the boot on his throat. Note his phrasing: Instead of, "You're
letting Lex kill Martha," he says, "You're
letting him kill Martha." By removing that specificity
from the line, Batman is allowing Martha Wayne to die, in turn
leading to his coming meltdown. Bruce also heard similar words earlier,
"You let your family die!" sent to him by Lex to exploit his feelings of
failure and powerlessness. Now they come into play here again.
"I'm not a god. I'm not a man." (Superman, Kingdom Come)
Superman gasps under Batman's boot when the spear tip's green glow
fills the screen. Batman places it against Superman's cheek and
swipes, cutting a crimson line across his face and fulfilling his
promise to make him bleed. Superman can only wince in pain.
Batman raises the spear overhead for the killing blow.
Batman hesitates and looks down at the choking Superman.
Superman merely gurgles beneath the vigilante's boot.
Looking confused, Batman asks, "What does that mean? Why did you say that name?"
Struggling to get each word out with the boot on his throat, Superman pleads, "Find... him! Save... Martha!" The first part of this line could also work as a symbolic message to Batman to find the hero he used to be.
His mouth hanging open, we hold on Batman before cutting to the Wayne Mausoleum dream sequence with the distant words of Thomas Wayne saying, "Martha."
Looking confused, Batman asks, "What does that mean? Why did you say that name?"
Struggling to get each word out with the boot on his throat, Superman pleads, "Find... him! Save... Martha!" The first part of this line could also work as a symbolic message to Batman to find the hero he used to be.
His mouth hanging open, we hold on Batman before cutting to the Wayne Mausoleum dream sequence with the distant words of Thomas Wayne saying, "Martha."
Waist-level shot on the flowers in Bruce's hand, the Mausoleum in the background. Sudden flash of white light.
Cut to the name of Martha Wayne engraved on the wall inside the
crypt.
Extreme close-up down the barrel of Joe Chill's gun.
Medium shot on Bruce as Thomas throws his fist into their attacker.
Cut to the gun firing.
Extreme close-up on the shell casing ejecting from the pistol.
We elevate on Bruce, breathing harder, starting to grit his teeth in
emotional pain. The flashbacks here are not just for us, but for Batman, recalling that
traumatic night, making this a post-traumatic stress reaction.
Side close-up on the pistol under Martha's pearl necklace. It fires, and
the recoil snaps the necklace.
Low-angle rear shot on Martha falling in a hail of pearls to reveal Joe
Chill.
Low-angle on child Bruce falling down the cave shaft.
Back to Batman, still elevating on his face. This further reminds us that he
is the one having these flashbacks.
Cut to young Bruce screaming inaudibly.
Close-up on Martha, shuddering for a moment before she goes still.
Extreme close-up on Thomas Wayne, whispering the name, "Martha."
Extreme close-up on Martha's eye, dilating.
Back to Batman. Fully triggered, the vigilante becomes enraged and shrieks, "Why did you say that name?!" The implication is he assumes Superman is trying to manipulate him.
Superman is helpless to respond as he chokes under Batman's heavy boot.
Cut to the nearby vandalised pillars to see Lois running into the
lobby.
We hear Batman continue yelling,
"'Martha'! Why did you say that name?!"
Lois runs over to where Batman stands above Superman yelling, "Clark! Stop!" She throws herself down beside him, a courageous act to protect the man she loves. Looking up at Batman, she pleads, "Please! Stop!"
Still screaming, Batman repeats, "Why did you say that name?!"
Lois runs over to where Batman stands above Superman yelling, "Clark! Stop!" She throws herself down beside him, a courageous act to protect the man she loves. Looking up at Batman, she pleads, "Please! Stop!"
Still screaming, Batman repeats, "Why did you say that name?!"
Lois yells, "It's his mother's name!" Then, more quietly, she repeats, "It's his mother's name." She looks up at him pleadingly.
Then the rage disappears from Batman's face. His demeanour has completely changed, now calm and imbued with a new understanding.
After a moment, he removes his boot from Superman's throat.
We track Batman as he steps back heavily off the pile of rubble, reeling
from the realisation and the guilt. Some time passes in silence before he finally roars and tosses the spear
aside, landing among chunks of fractured concrete. This is much like Arthur discarding his glowing green blade in Excalibur (1981) after defeating Lancelot with the titular sword.
"This excellent knight, who fought with fairness and grace, was meant to win. I used Excalibur to change that verdict. I've lost, for all time. The ancient sword of my fathers, whose power was meant to unite all men... not to serve the vanity of a single man. I am... nothing." (King Arthur, Excalibur, 1981)
Cut to a cameraman quickly pulling his camera from a van. We track him as he rushes across the street to the scout ship hangar entrance, aiming his equipment to start filming the spectacle as electricity arcs over the structure.
Nearby, Erika Erickson says to the other camera aimed at her,
"We're not getting any answers. We're still right outside the
containment centre. A dangerous situation. Military and police personnel surrounding the area."
An establishing shot of the hangar shows us the full spectacle. This sequence reminds us of Lex's diabolical machinations now that Batman
and Superman have ended their conflict. The new threat is fast approaching.
Shoulder shot from Martha in the warehouse. Right in front of her,
Knyazev slips the flamethrower's fuel tanks onto his back.
Low-angle shot of Martha through the flamethrower's gas pipes
dangling in the foreground, shaking with terror. No words have been
needed. She knows her impending fate. Her eyes look aside.
Cut to the timer on the table. Ten minutes remain.
Medium shot on Knyazev, brandishing the flamethrower, looking
prepared.
Medium shot on Martha, whimpering, before racking focus to the
flamethrower's nozzle entering the frame. With a click, Knyazev flips
open his lighter and ignites the weapon, and the blue flame obscures
Martha to ominously foreshadow her imminent doom.
"Luthor," we hear Superman say, associating this act of barbarism with the villain while leading us into the next sequence.
"He wanted your life for hers," the downed superhero grunts as
Batman helps him to his feet. @AlexSchepers2 on Twitter pointed out that this might be a callback to Man of Steel where Pete Ross helps a young Clark to stand after the other
bullies leave; a former bully turned friend giving Clark a helping hand.
It would be a nice subtle indicator of how Superman continues to leave an
impact on the people around him, truly giving people an ideal to strive
towards, who then return the favour. Then he continues, "She's losing time."
Lois is standing beside him. She looks between the two superheroes and adds, "The scout ship seems to be drawing power from the city. It's gotta be Lex."
Batman steps toward Superman and says, "They need you at that ship." He puts a hand on Superman's shoulder in comforting reassurance, starkly contrasting his former attitude now that he sees his former foe so differently. "I'll find her." Recall his line to Sage in the ruins of the Wayne Financial Building: "You know what? We're going to find your mum."
"My mother needs me," says Superman, stepping forward.
"Wait!" Batman stops him with a hand to the chest, making him wince. Looking Superman in the eyes, he says softly, "I'll make you a promise. Martha won't die tonight." Superman being stopped here indicates his lingering weakness, intertwining Batman's promise with a logical motivation. There are several other points here...
- Previously, Bruce believed his legacy as Batman was merely pulling up the weeds that were criminals, and killing Superman is the only substantial thing he could do. Here, he is given a goal that defines a hero: saving someone.
- This is also almost certainly a parallel to Sage during Black Zero, whose mother Bruce could not save, but here he has a chance to do exactly that. There might also be a visual comparison, with Batman on the left, Superman/Sage on the right, and putting a reassuring hand on their shoulders.
- Remember his earlier words: "Twenty years in Gotham, Alfred. We've seen what promises are worth." Now he is making a promise, and he intends to make good on it. This is half of the resolution to his arc.
- Notice how of, "I'll find her," and, "Martha won't die tonight," Batman never once refers to Martha as "your mother." This is Batman's chance to metaphorically save own mother. Bruce could not save his parents, Robin, Jack O'Dwyer, Sage, or Wallace Keefe. After all the lives he has failed to save, he draws the line at a mother named Martha to redeem his feelings of powerlessness. This means everything to him.
Superman eyes Batman sceptically. Finally he relents, nodding. He has
come full circle, trusting in the good in Batman to stay true to his
promise, showing Superman that there is good in this world.
"That's what this symbol means. The symbol of the House of El means hope. Embodied within that hope is the fundamental belief in the potential of every person to be a force for good." (Jor-El, Man of Steel)
"Yeah, it's great that you brought that up because I couldn't agree more. The moment is so pivotal; the fact that Superman trusts him when he says 'Martha won't die tonight.' There's that moment where he looks at him, and he has to trust that he means what he says. And there's that moment he recognizes, 'This is something much bigger than my own concerns and my own fear,' and that's why that desperation and that drive that we tried to put in it. I'm glad it came across because that was the desired goal. There is a passion and a ferocity and a he-will-not-fail attitude that blasts through that." (Damon Caro, Heroic Hollywood, 23 February 2017)
Then Lois steps in to affectionately cradle her lover's face in her
hands. They share a knowing look, and since the last time they saw each
other was when Superman expressed his despair, this reunion further shows
that he has come to a better place in his beliefs. Then he too steps away, breaking hand contact with her, and the look on
his face makes it clear he absolutely hates saying goodbye to her. Lois
flashes him a little reassuring smile. This wordless interaction is another instance of the couple speaking
through their emotions, not their words.
Wide shot of the lobby as Superman turns away from Lois and takes flight.
Pan left to watch him hover through the hall, towards the pile of
radiators, and launch up the atrium shaft that Batman tossed him down earlier, very symbolic of an
ascension from a dark place. Internally, his character is looking
up.
Outside, we focus on the vertical jets that lift Batman's new vehicle. Like Superman, Batman is also rising again, and both characters are essentially heading upwards in some way. Batman comes into view in the cockpit as the canopy closes shut. He has shed his thick armour and is now back in his traditional costume.
"Master Wayne," says Alfred over the radio in the Batwing's
cockpit, with a somewhat patronising tone.
Batman responds, sounding relieved, "Alfred."
Cut to Alfred in the Batcave, looking up at the Bat-computer. "Uh, I'm sorry for listening in, but I've tracked the Russian's phone to a warehouse near the port. You're locked on to it." The screen depicts Knyazev's warehouse via satellite imagery, zooming closer. Recall that Alfred has been absent from the Batcave since his argument with Bruce, refusing to contribute to his bloodthirsty crusade. Now he has returned to keep an eye on his friend.
Cut to Batman through the Batwing's canopy. He gratefully replies, "I don't deserve you, Alfred."
Cut to Alfred. "No, sir. You don't," he says, flatly. A little humour to lighten the recent tension.
Low-angle exterior shot of Wayne Station. The Batwing emerges from around the corner, flying around to shine its lights on the neo-classical building, revealing that this has been Batman's ride since the Batmobile was damaged. This is our first introduction to the aircraft.
Batman responds, sounding relieved, "Alfred."
Cut to Alfred in the Batcave, looking up at the Bat-computer. "Uh, I'm sorry for listening in, but I've tracked the Russian's phone to a warehouse near the port. You're locked on to it." The screen depicts Knyazev's warehouse via satellite imagery, zooming closer. Recall that Alfred has been absent from the Batcave since his argument with Bruce, refusing to contribute to his bloodthirsty crusade. Now he has returned to keep an eye on his friend.
Cut to Batman through the Batwing's canopy. He gratefully replies, "I don't deserve you, Alfred."
Cut to Alfred. "No, sir. You don't," he says, flatly. A little humour to lighten the recent tension.
Low-angle exterior shot of Wayne Station. The Batwing emerges from around the corner, flying around to shine its lights on the neo-classical building, revealing that this has been Batman's ride since the Batmobile was damaged. This is our first introduction to the aircraft.
Inside, Lois stands looking up at the old lobby windows as the lights
shine through. When the Batwing flies off, she looks down thoughtfully and sees the
Kryptonite spear left behind in the rubble, no longer glowing. She kneels,
takes it in her hands, and stands. She turns to look around uncertainly
before hurrying off. Each of these three characters has a task ahead of
them.
Scene Overview
After the timely arrival of Lois, Batman realises the humanity in Superman through the revelation that he too has a mother named Martha. This has brought Batman's crusade to an abrupt and self-reflective stop. As Martha Kent's impending death draws near, he makes a promise to save her while Superman, his hopes rebuilt by the shift in Batman's attitude, agrees to fly to the scout ship and confront Lex. Bringing the cloned phone back into play, Alfred has informed Batman of the location of Knyazev's hideout, and we follow the Dark Knight to the next scene while Lois retrieves the spear for disposal.
Scene Analysis
"Where we had thought to travel outwards, we shall come to the centre of our own existence." (John Campbell, The Hero with a Thousand Faces, 1949, p18)
This scene is the penultimate step in Batman's arc. The cornerstone of his motivation lies in his inability to
recognise Superman's humanity, a perspective motivated by his deep
feelings of powerlessness with the deaths of his parents, Robin, Sage's mother, Jack
O'Dwyer, and Wallace Keefe. These feelings have driven him here, seeking to overcome his
powerlessness with a spear held above the man he cannot see
through his hate and paranoia.
He is stopped by the words, "You're letting him kill Martha. Find
him. Save Martha." Confronted with something Bruce could never do
and a trauma he cannot escape from, he flies into hysteria until
Lois swoops in to reveal this is the name of the alien's mother. Now, several layers of storytelling have come together here to make it
psychologically impossible for Batman to kill Superman. All his
rationalising has been overcome by emotions that leave him deeply
self-reflective, finding the truth at the heart of why he became
Batman in the first place. It is an absolutely perfect scene.
There are three reasonable interpretations of the events of this
sequence that can be corroborated by the text of the work and the stated intent of the filmmakers,
but all three can function as a combined whole.
Realising Superman's Humanity
The cornerstone of Batman's hatred lies in his inability to
recognise Superman's humanity: "You're not brave. Men are brave.
You were never a god. You were never even a man." Deprived of his
supernatural power, pleading for the life of another instead of
his own, defended by a human woman putting herself in harm's way,
and finally revealed to have a mother named Martha through which
Batman forms a profoundly personal connection, the alien is
stripped away to reveal the man underneath. Ironically, it is
Superman who has shown Bruce what it means to be a man.
"It’s from the comic book. When we were talking about that aspect of the movie and what is the thing that humanises Superman or Batman, it seemed really interesting so I think about in those terms in that he’s basically now looking at someone with a mother. He becomes different in that moment to Batman. That he would consider this otherworldly creature that couldn't care less about humanity that he could bring himself to a certain emotional place with that be normally difficult for Batman to get to. He whipped himself into enough of a further that he had achieved a thing that was particularly difficult for him to see that guy looking in the mirror. That was the idea. I don’t know how fans will feel about it." (Zack Snyder, Press Conference, 18 March 2016)
"100% we were looking for some kind of connection and that seemed like an obvious way to humanise him, and we talked about the fact that their mothers both have the same first name, and the irony is, for Bruce, in weakening Superman, so far as to make him a man, it makes the killing of a god impossible, because he's just a man whose mother has the same name as his. So all of his fervour and all of his heat has come off in the face of that." (Zack Snyder, Empire Film Podcast, 30 March 2016, 00:10:50)
"And that's how Lex underestimates us in a lot of ways. He doesn't think we're capable of rising, so he has to bring the god down, right? And look, Luthor's a humanitarian on some level. But in that moment it was about leveling the playing field, and what seems like a vast difference between our perceived 'god' and our perceived 'man' are really just labels and sort of ways of looking, but in reality there's this common morality they share -- and a really common kind of mythology too.
You know, they're both born and live in a world where someone can care about them and mourn them, and they can love their mother. And that's the cool thing, you know we spend so much time with the Martha-Clark relationship that I think it kind of pays off there. You realize, oh, we needed that as viewers, so we could get to a moment with Batman where that moment with Martha resonates. Because we've lived on with Clark's relationship with his mother, so that moment is like, 'Wow, that's ringing for me and I feel it.'
When we were shooting the title sequence, that whole idea about, 'Do we really need to see the death of the Waynes again,' is a big thing to take a shot at again. But you realize you need it, because it actually pays off. And I really wanted to do it all the way." (Zack Snyder, Forbes, 1 April 2016)
"What the problem is with how salient that line is and the connection between having the same mother's name allows you to connect with someone you wanted to obliterate from the planet because you saw him as a threat to the human race. You saw him as a threat to humanity, then in that one moment, you realised he was an orphan and you saw him as you as a kid and you saw him in that light, so that enlightened you, that made you drop and see him now, not as the enemy, but as an ally. A fellow being who is trying to do the right thing, to reach justice." (Damon Caro, Screen Rant, 9 September 2018)
"And then we have this moment where Superman invokes the name of the mother. Their mothers in the DC universe both have the same name: Martha. How are you to render the humanity of a man in a single moment? How do you find the thing that connects him? That was Chris [Terrio's] idea, and I thought it was really beautiful, when he realises that their mothers have the same name, that that's the thing that makes him realise Superman is just a man. Well, not just a man, but that he suffers and feels pain like any man." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:11:14)
Becoming Joe Chill
Batman has forced his powerlessness onto Superman,
literally stripping him of his supernatural powers and putting
him under heel. After discovering
the profoundly personal connection of a mother named Martha,
Batman is forced to see him in a victim position. Superman has the enduring innocence that Bruce lost long
ago, arguably more human than Bruce is now. By killing Superman,
he would become the very monster he swore to destroy by committing the same atrocity that took his parents
away. As such, hatred becomes intense empathy.
"Again, you know, this whole concept of him branding criminals, the idea was that he had lost his own moral compass, and that he had become what he beheld, and I think that the whole idea of this movie is to create this arc through his hatred of Superman, but when he confronts Superman's humanity, that he finds himself again. That's kind of the whole thesis of the thing, that we're all humans, that our mothers have the same name, we both have a mother, and so we're both human. Even though Superman is from another planet, his connection to humanity is so clean that Batman's able to re-energise himself." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
Redemption for Powerlessness
Superman -- the alien -- is the embodiment of everything that
makes Bruce feel powerless. After forcing that powerlessness onto Superman and learning his
mother's name, the alien is humanised by reflecting the
innocence Bruce lost long ago. He sees in this the chance
to redeem his powerlessness by drawing the line at a mother
named Martha, a symbolic opportunity to save his own mother whom he projects onto Clark's. To save Martha, not kill Superman, is his redemption. He could not save his mother, but he
can save Superman's. Subverting his earlier mistrust in
promises, he makes one of his own: "Martha won't die tonight."
He cannot allow her blood to be on his hands. This is the
reason he became Batman.
All this redirects Batman's path, now heading in the right direction
of eventually renewing his faith in humanity. It begins here with
seeing the humanity in the alien he sought to kill, rejecting the monster he nearly became, and finding what it
means to be Batman again. However, Bruce is not the only one rediscovering his
values...
Superman's Faith
"That's what this symbol means. The symbol of the House of El means hope. Embodied within that hope is the fundamental belief in the potential of every person to be a force for good. That's what you can bring them." (Jor-El, Man of Steel, 2013)
Good is a Conversation
Finch said previously, "In a democracy, good is a conversation, not
a unilateral decision... This is how democracy works. We talk to
each other." Over two hours of story have led to this synced tipping point in the
arcs of both characters, provoked simply by the thing they refused
to do: talk to each other. Both chose violence, and it nearly killed
them. Disproving Adriana Santos, it was words that stopped Batman and saved
the two heroes, not a fist. Superman and Batman have learned the
importance of dialogue in overcoming their shared prejudice for each
other. For all Batman's hate and all Superman's animosity, what ended
their conflict was such a simple thing they had in common.
References
The coincidence that Batman and Superman have mothers with the same name is a real one. Martha Kent was first introduced in Superman #1 (1939), and Martha Wayne was first introduced in Detective Comics #33 (1939).
@ShokXoneStudios on Twitter pointed out this sequence might also be
a reference to the scene from Terminator 2: Judgement Day where Sarah Connor nearly kills Miles Dyson (played by Joe Morton,
who also plays Silas Stone) to prevent a future dystopian nightmare until
his son throws himself over him, and she cannot go through with it as she
realises she has become the cold killing machine she hates. Considering
the similarity of the two scenes and the theme of trying to prevent a
dystopian future, it would certainly make sense.
It might also be a
reference to The Sons of Martha, a Biblical poem by Rudyard Kipling. It also resembles the sequence
in Excalibur where Arthur is prepared to kill a helpless, sleeping Lancelot
beside his own beloved, but is unable to, saving his soul by rejecting his
rage. Like in Excalibur, the two knights united to fight evil.
Musical analysis coming soon.
Behind the Scenes
The exterior and lobby of Wayne Station was filmed at Michigan Central
Station, 2198 Michigan Avenue, Detroit, Michigan. Key second assistant
director Misha Bukowski visited the location in December 2013, and key specialty costumer Douglas J Stewart was there in April 2014. Construction and filming started in September around the 17th, Lois' arrival via helicopter was shot on the 20th, and filming continued until the 26th. The shoot was covered by MLive (with photos) and WXYZ-TV Detroit (with video). A local visited the set in the day. During their time shooting, innumerable stunning photos
of the location were taken and posted by Zack Snyder [1/2],
set photographer Clay Enos [1], key specialty costumer Douglas Stewart [1/2/3/4/5/6/7/8], and Kate
Altair [1/2].
|
| Concept art by Vance Kovacs |
"Chris Terrio and I, we knew we had reached that point in the movie, in our discussions, where we knew how to get them to fight, right? How would you get them to stop fighting? That's a tough one. We were drilling down on their humanity, Batman realising that Superman is not just a creature, and that he's a man, and in a lot of ways he's more human than you. He's embraced all of the good parts of the human race. In a lot of ways, Batman is not, and that is how we started to talk about it. Then it was actually Chris who told me, 'You know, isn't it weird that their mothers have the same name?' 'That's crazy! Is that true? It is true!' And that's how it started, and then we started to talk about how it could work and if it was Lois that said the thing it's better." (Zack Snyder, Zack Snyder: The Director's Cuts, 24 March 2019)
"Although we did have an idea that maybe Martha didn't die and that she got put in witness protection in Kansas. [Laughs] I'm just saying. Felt like it was possible. Anyway, you can only push it so hard." (Zack Snyder, Zack Snyder: The Director's Cuts, 24 March 2019)
The scout ship entrance checkpoint was constructed as an outdoor green
screen at the late Michigan Motion Picture Studios along Centerpoint Parkway, Pontiac, Michigan, directly across the street from the LexCorp location. Military vehicles present were real. On 4 June 2014, with a week's notice, extras signed up for military
roles were called for fittings in preparation for 11th shooting all day into the night for the
checkpoint sequences. The shoot was then rescheduled for the 13th due to rain. Set photographer Clay Enos and electrician Erica Kim both got photos.
Warehouse Fight
"I'm afraid this is goodbye," says Knyazev, verbalising
Lois' unspoken goodbye to Superman at the end of the previous scene, or
subtle foreshadowing of his death upon using the same Kryptonite spear
to slay Doomsday. Knyazev moves aside to reveal Martha, looking
terrified, and bends down to her ear to whisper,
"And every time we say goodbye, you die a little." He is making a
callback to the song Ev'ry Time We Say Goodbye (1944) heard
during Lois' kidnapping.
Martha looks to be in utter despair, but then Knyazev stands up straight, his attention drawn to the lights glowing through the smudged windows, and the whole room starts to shake with the sound of a high-tech engine nearby. Martha looks around tearfully.
Thugs rip the covers off their mounted Browning M2HB machine gun turrets on their trucks. "Take it down!" yells one thug. "Go! Go!"
yells another. They grip their weapons, turn, and immediately begin firing
on the Batwing.
Inside, Batman grips the joystick, upon which we can see text,
"Hoist Cable Cutter", a likely reference to the Batwing's claw used to
grab Joker's balloons in Tim Burton's Batman (1989). Then he
pulls the main trigger and begins firing the Batwing's central Gatling gun
from the aircraft's front fin.
The vehicle does a run-up, shooting for eight seconds and shredding the ground ever closer to the thugs. In all that time, none of them choose to run and maintain their fire. The two trucks are soon obliterated in a violent explosion.
The vehicle does a run-up, shooting for eight seconds and shredding the ground ever closer to the thugs. In all that time, none of them choose to run and maintain their fire. The two trucks are soon obliterated in a violent explosion.
"These guys are fine too. None of these guys got hurt. They're a hundred-percent fine. We just didn't bother to shoot the shots where they get up, but of course they're fine. They're wearing fire-retardant clothing, so they're a hundred-percent fine." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
Behind the Scene: Most of the destruction you see here is all real. The bullets hitting the ground were explosives going off, but they stopped before hitting the first car. The exploding cars were real, however, but were destroyed on a greenscreen set before being scoped into the scene. Check this VFX breakdown by Scanline VFX to see how they did it.With the defensive line defeated, Batman banks into the sky. He looks back through the canopy, perhaps with regret, but nevertheless arcs back around toward the warehouse in his sleek aircraft.
"You have to take it, Alfred," he says to the radio.
Cut to the Batcave. Looking a bit unprepared, Alfred says, "Ah. Right." Then he hastily slides a joystick and control console out from under the desk. "Commencing drone mode."
Cut to the Batcave. Looking a bit unprepared, Alfred says, "Ah. Right." Then he hastily slides a joystick and control console out from under the desk. "Commencing drone mode."
The Bat-computer displays a feed from the Batwing's mounted camera and
thermal imagining to show the interior of the warehouse, its occupants
illuminated.
Working the controls, Alfred explains, "Thermal imaging is showing me two dozen hostiles on the third floor. Why
don't I drop you off on the second?" Recall the drones destroyed in the Nairomi scene and towards the
end of Man of Steel. Later, the Batwing gets destroyed too.
The aircraft descends smoothly and hovers outside a bank of smudged second floor windows. Batman jumps out from the opening cockpit and, with a helpful boost from the Batwing, takes a leap into the air off the front wing toward the window.
From inside the warehouse, we see his bat-shaped silhouette before he
crashes in through the glass. This might reference a visually similar page
from The Dark Knight Returns depicting a bat's silhouette behind an
illuminated window before crashing through the glass.
On the third floor, the nervous hostiles stand waiting with their guns
trained on the main exit doors.
The thugs are played by stuntmen Guillermo Grispo, Lateef Crowder dos Santos, Victor Lopez, Sam Looc, Allen Jo (husband of Samantha Jo), Steve Brown, Paul Darnell, Mike Justus, Justin A Williams, Albert Valladares, Wayne Dalglish, Matthew Rugetti, Freddy Bouciegues (who also supported and celebrated the Snyder Cut), Ryan Watson
(who also played Doomsday), and Jake Swallow.
In Martha's room, Knyazev nods to one of his men, Sam Looc, who takes off
through a doorway and closes it behind him to into main room to join his
fellow mercenaries. The only other thug in the room aims his rifle on the
now-closed doors.
Brow creased anxiously, Martha watches from her chair.
Brow creased anxiously, Martha watches from her chair.
Outside, the thugs keep their weapons trained on the exit.
Then a blast of light stuns them, and Justus falls through the
floorboards while his compatriots stumble back, possibly referencing
a similar moment in The Dark Knight Returns. Batman emerges from the cavity right in their midst on the grapple gun,
and ascends into the ceiling, partially concealed by a hail of debris and confusion. Recall earlier than, in line with the film's theme of descending and
falling, Batman descended after Superman with a grappling hook in the
abandoned building, but now is coming up from below to fight his real
enemies, a literal metaphor for the character moving in an upward direction in his arc.
The thugs suddenly find blinking red devices attached to their rifles,
beeping. Then Batman activates the little explosives from his perch in
the rafters above, causing the weapons to explode, stunning
Watson, Santos, Dalglish, Swallow, Jo, and Rugetti in that order. Note that the explosives were only placed on
the weapons, and not the thugs themselves.
Still unaware of their attacker's location, Bouciegues shoots down
into the hole in the floor before the grapple gun jabs into the flesh of
his right thigh in a gust of blood, pulling him into the air
upside-down. Darnell watches.
Then Batman descends, grabs Darnell by the arms as a shriek accompanies a painful crack, and fires his
weapon across the room to force Rugetti, Lopez, Watson, and Grispo to
duck.
Batman shoves Darnell away. Looc has recovered and fires his rifle, but Batman shoots the grapple at his shoulder, piercing his flesh and emerging from his back. Batman pulls him through the air before a punch knocks him away into the hole in the floor.
To the right, the handle of a door is blown open and Justin A
Williams barges in.
Grispo has recovered, and Batman throws a Batarang at him, slicing
through his machine gun and jamming into his left shoulder.
He turns his attention to the newcomer, Williams, who holsters his
machine gun and opts for a change of tactics, pulling the pin off a grenade with a mean look.
Batman kicks the hanging
Bouciegues in the head, coming loose from the hook in his thigh and
flying into Williams, knocking them both down into the exit and the
grenade rolls away. Williams tries to reach for it.
As an explosion emerges from the exit door, killing
Bouciegues and Williams, Batman (grapple gun in hand) knocks aside the pistol Lopez tried aiming at his head, elbows Grispo in
the stomach, and knocks down Watson's rifle before elbowing his
face.
He turns and ducks to avoid a knife swipe from Lopez, then dodges a head
stab, grabs Lopez by the arm, and uses the leverage to swing him through
the air and smash into the ground.
Deleted Shots: Around 0:27 in the movie's Final Trailer, Batman takes out a charging Rugetti by tossing him into some crates. This shot was omitted from the movie, replaced instead with the following cut.
In the other room, Knyazev and Martha hears the yelling and gunshots.
Knyazev is nervous, but seeing his expression, Martha actually
smiles.
Deleted Shots: In the behind-the-scenes featurettes, we can see Batman charging into Grispo's stomach and throwing him into a yellow beam hanging horizontally above them, knocking him out.Back outside, Dalglish expends his ammo and prepares a knife beside Santos, who does the same.
Batman leaps over a crate as he shoves Darnell's head against it,
knocking him out.
He attaches the Bat-claw to the wood and throws the crate over his own
head at the thugs, knocking Swallow into a wall as his skull cracks
against the brick.
Jo shoots a pistol at Batman, knocking the Bat-claw from his
grip. Then he runs at them as Jo drops the spent firearm, engaging the
remaining thugs Brown, Dalglish, Santos, and Jo directly as they charge
him.
Jo grabs his right arm. Batman elbows Brown in the stomach with his
left, and punches Jo in the face to free his right while
Brown slashes his knife at the back of Batman's neck, useless against
the armoured cowl.
He blocks a knife from Dalglish while punching Santos in the
face.
He blocks another knife from Dalglish.
He headbutts Brown.
He blocks a thrust from Dalglish while elbowing Jo in the chest, who
flies back.
He blocks knife attacks from Brown and Santos on either side of
him simultaneously.
He stops Dalglish's attack by grabbing his incoming right arm.
He backhands Brown and uses the same arm to break Dalglish's arm
with a crack.
He kicks Santos in the knee.
He grabs Brown's knife and uses it to block Dalglish's knife attack
before kicking him in the stomach.
He forces Brown's knife down into his right thigh.
He uppercuts Dalglish.
He blocks Jo's knife attack and punches him in the face.
He turns and punches Brown's face right into the wooden floor.
Goof: This is the first shot where we see the blood on the
wall is now gone, a visual mistake as the blood was added with CGI.
Santos runs into Batman, who uses Santos' inertia to pin the thug's
head against the floor to begin repeatedly punching him in a low-angle
shot, taking him out. This might be a visual reference
to Watchmen (2009), where Nite Owl pummels a thug in a
very similar manner. It might also be a mirror of the shot of Superman
punching Zod through the cornfield in Man of Steel, both
characters enraged to save Martha, and both technically saving their own
mother.
Then Watson fires his SIG-Sauer P226R pistol right into Batman's cowl.
He groans, but is unharmed, and begins wrestling the pistol from
Watson's grip before throwing him against the ground and breaking his
arm as he screams.
Dalglish kicks Batman in the face as Jo pulls his cape,
forcing his back against the ground. Jo slashes with a knife which
Batman deflects with his left gauntlet.
Standing, Dalglish attacks with his own knife, which Batman deflects
with his right gauntlet, still on the ground.
Batman deflects another from Jo.
Then another strike from Dalglish. Both thugs are keeping him on the
ground with a relentless two-pronged assault, unable to get up without
exposing himself.
Jo attacks again and Batman deflects the attack once more before
bringing his right arm up to elbow him in the face.
Then Dalglish kicks Batman in the right shoulder, pushing his back
against the ground again and giving Jo the chance to stab him in the
left shoulder.
Having finally had enough, Batman kicks Dalglish in the leg to trip him
up, then brings the same leg up to knee Jo in the face.
He turns quickly, deflects another knife strike from Dalglish, and knocks
the legs out from under him with a punch.
Standing upright, he rips out the blade embedded in his shoulder, grabs
the dazed Jo by the collar, and shoves him against the wall before pinning
him with the same knife in the same left shoulder, returning the favour.
Dalglish punches Batman from behind. He is unfazed. He turns,
blocks the second punch, punches Dalglish in the face, and knees
him in the stomach. He falls, but Batman grabs him and throws him into
the wall, knocking wood and plaster away.
Then Batman relaxes, slowly approaching the shivering, whimpering pinned Jo. He glares at him for a few moments before shoving an arm somewhere into him, followed by a fleshy squelch and a scream.
Knyazev turns to him and nods at his last remaining thug.
Valladares turns his attention back to the door.
Martha whimpers, but flashes a smile, believing she is saved.
All is silent at Valladares keeps his heavy machine gun on the door. Then
the wall behind him bursts open in a shower of splinters. Batman emerges
and overpowers him, grabbing the M60 in one hand and aiming it at
Knyazev.
Behind the Scene: Snyder confirmed in the director's commentary (2:19:03) that the gun was so heavy that wires were needed to hold it up.
Martha cowers in her chair.
Still aiming the flamethrower at her, Knyazev warns Batman,
"Drop it." When he does not respond, the villain brandishes the weapon
further before yelling,
"I said, drop it! I'll kill her! Believe me, I'll do it!"
Martha can only cringe, hiding her face in terror.
Batman pauses for a few seconds, breathing heavily before saying, "I believe you."
Then he shoots Knyazev, and a roaring fire streaks from the pierced canister. Knyazev is startled for a moment before he turns the weapon on Batman, who throws himself over Martha just as the tank explodes.
Martha can only cringe, hiding her face in terror.
Batman pauses for a few seconds, breathing heavily before saying, "I believe you."
Then he shoots Knyazev, and a roaring fire streaks from the pierced canister. Knyazev is startled for a moment before he turns the weapon on Batman, who throws himself over Martha just as the tank explodes.
"I still didn't shoot him directly. I wanted to, but I felt like it was a controversial move, even though in Dark Knight Returns, he does shoot him straight in the forehead." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:19:18)
Cut to the exterior of the building, where flame erupts from the windows.
This could be a metaphorical baptism of fire, after which Batman takes on
a devil-like threat and is pulled from the flames by Superman's
sacrifice.
Back inside, the flames subside to reveal Batman has shielded Martha, safe and sound, with his heat-resistant cape and cowl. On top of her, he says, "It's okay. I'm a friend of your son's." This might be a subversion of the anticipated "I'm Batman."
Panting and smiling, Martha responds, "I figured." She gestures to Batman's back with her head. "The cape." A wholesome joke to release the tension after the high-octane fight scene.
Back inside, the flames subside to reveal Batman has shielded Martha, safe and sound, with his heat-resistant cape and cowl. On top of her, he says, "It's okay. I'm a friend of your son's." This might be a subversion of the anticipated "I'm Batman."
Panting and smiling, Martha responds, "I figured." She gestures to Batman's back with her head. "The cape." A wholesome joke to release the tension after the high-octane fight scene.
This sequence is a direct reference to a scene in
The Dark Knight Returns.
Scene Overview
Arriving at the warehouse, Batman fights through scores of thugs with
more ferocity than ever before -- not to acquire information or punish
an enemy, but to save a life, finally heading in the right direction.
With the death of Knyazev and Martha Kent safe at last, fulfilling
Batman's promise to Superman and himself. With that sorted, the biggest
fight of the film is about to begin.
Scene Analysis
This action scene is approximately 4m42s from the first frame of Knyazev looming over Martha to the last frame of Batman comforting her.
"I think Batman has been reinvigorated to basically summon all of his skill set to do this rescue, to save Martha, and I think that's an awesome thing when you have Batman suddenly motivated by a cleaner version of his morality which I think allows him to fight harder and be even better." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
For the first time in this film, we see Batman (not Bruce Wayne)
trying to save someone, back on the right path after trying to
kill Superman, fighting through scores of bad guys to save an innocent
woman. At last, Batman is fighting for a noble goal, and employing his
full range of skills to do it. I found that immeasurably satisfying.
To him, he is metaphorically saving his own mother, and it
shows.
"I mean, in the chase scene he was dealing with dangerous dudes that were trying to kill him, but I feel he was driven more by hatred then. By the Martha rescue, he's no longer fuelled by resentment. That's all clearly there and by design, as he just had the realisation that Kal's an alien, but they share the same humanity -- the humans and the Kryptonians. So there's definitely an evolution at this point. But regards to Batman’s mindset -- again, if you ask Zack, the answer might be a bit different, but from my point of view, he also must be efficient, right? He had to get through that crew of mercenaries and navigate it as efficiently as possible while ensuring that they were going to be incapacitated at the very least because he had a limited time frame, a small window, or Martha was dead. That was the whole point of having to get through it... Obviously guys' arms are broken, and that's after the guy shoots him several times, luckily in his bulletproof cowl...
But that doesn't mean he didn't break the guy's arm for plugging him in the head a couple times, and after he is stabbed, he pins the guy to the wall with that same knife. But, yeah, it wasn't his goal. Right? Don't forget he blew up the trucks outside and also shoots KG Beast’s tank, but those were situations forced upon him by circumstance. None of it is vindictive or cruel, just necessary. It was all driven by his goal: 'I need to get through these people and I need to incapacitate them at the very least, but I've got a bigger issue here I've got to get out.'" (Damon Caro, Screen Rant, 9 September 2018)
Batman took down every bad guy in the warehouse. Dr Hope's Sick Notes made this video analysing the injuries sustained throughout the fight that I
highly recommend. Below is a list of all the thugs and their injuries...
- Guillermo Grispo: Batarang to the left shoulder, elbow to the stomach, knocked out with a steel beam.
- Lateef Crowder dos Santos (Instagram): Stunned by exploding weapon, punched in the face, kicked in the knee, pinned to the floor, punched thrice in the head.
- Victor Lopez: Knocked out after back smashed into the floorboards.
- Sam Looc (Instagram): Penetrating grapple claw in the left shoulder, pulled through the air, elbowed into the hole in the floor. Unknown fate.
- Allen Jo: Stunned by exploding weapon, punched in the face, elbowed in the chest, elbowed in the face, kneed in the face, stabbed in the left shoulder. Unknown fate.
- Steve Brown (Instagram): Elbowed in the stomach, headbutted, backhanded in the face, stabbed in the right thigh, face punched into the floor.
- Paul Darnell (Instagram): Broken arm, knocked out after head slammed into a crate.
- Mike Justus (Instagram): Fell into the floorboards. Unknown fate.
- Justin A Williams: Hit by a thrown body, blown up by his own grenade. Deceased.
- Albert Valladares (Instagram): Blown up by Knyazev's exploding gas tank. Deceased.
- Wayne Dalglish: Stunned by exploding weapon, broken right arm, kick to the stomach, uppercut to the jaw, kick to the leg, punch to the leg, punch to the face, knee to the stomach, thrown into a wall.
- Matthew Rugetti (Interview): Stunned by exploding weapon, thrown into crates.
- Freddy Bouciegues (Instagram/YouTube): Penetrating grapple claw to the right thigh, hoisted into the air, thrown into Williams, blown up by grenade. Deceased.
- Ryan Watson (Instagram): Stunned by exploding weapon, elbowed in the face, right arm broken.
- Jake Swallow: Stunned by exploding weapon, skull cracked on wall. Deceased.
Musical analysis coming soon.
Behind the Scene
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| "Behind-the-scenes with our all-star crew." Ben Affleck, Twitter, 2 March 2016 |
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| "Behind-the-scenes with our all-star crew." Ben Affleck, Twitter, 2 March 2016 |
"Again, Detroit offered an authentic and historical old shipyard because it was part of the Great Lakes system. The warehouse where a key character is kept hostage was built on a stage, but inspired by the interiors of the Nicholson Shipyard... and much of the set dressing was actually rented from the shipyard. Grease and grime came free!! My Leadperson, Grant Samson (LA), and his crew worked for days pulling out the incredible pieces you see." (Carolyn Loucks, Set Decor, 9 May 2016)
The warehouse interior was a set constructed at the late Michigan
Motion Picture Studios along Centerpoint Parkway, Detroit, Michigan.
Based on interviews and the locations of the stuntmen at the time, the
scene was shot in late April 2014 into May over roughly a week of
shooting. During their time there, several of the stuntmen
got together for Memorial Day on the 26th. Zack Snyder posted
a photo
of Richard Cetrone resting in the Batsuit. Heroic Hollywood has
four behind-the-scenes photos.
"No, no, I don't count any of that. There's so little of that. And I actually like those movies, but when we got to doing this scene that's when you realized, 'Holy shit, he really hasn't fought like the Batman who knows all these different fighting styles and an bring them all to bare.' We've never seen him do that and prove that he's this thing to be feared. Anyone who's going to do something wrong in the world, you've got to be afraid because it could turn into this. So thematically, this was the first that was exciting about that scene, and visual effects wise, It was not an overt visual effects scene. There's a lot of stuff in that scene, and because Damon and me being able to work a lot in the past. It was fun to break down from that point of view, because we know we don't want a change here because it's going to inhibit the performance. Let the visual effects support the beauty of the choreography in the fight itself. It's not like the Doomsday fight where they're fighting a CG character. Therefore, I think, in a lot of ways it's a lot more fun, and it's also sort of the breadth and depth of the movie as a whole. Effects wise, special effects wise, visual effects wise, stunt effects wise, it's a very rich movie that way and this scene showcases that richness." (John "DJ" DesJardin, Heroic Hollywood, 23 February 2017)
In
this interview with Screen Rant, stunt coordinator Damon Caro explained the scene's creation. Many
had asked him if the scene's fight choreography was inspired by the
seamless "free-flow" combat style and mechanics of the Batman: Arkham
series of video games, he has never played the game or even seen
trailers. While films like Enter the Dragon,
Road Warrior, and Mad Max were an influence,
Caro built the fight off what he felt suited the narrative, the
character, and his life-long appreciation for the comic imagery.
Excluding the football match, this was the first scene shot for principal photography, and Zack
Snyder confirmed in the director's commentary (1.57.56) that it took
roughly a week to film due to its sheer complexity. Caro and VFX supervisors Bryan Hirota and John "DJ" DesJardin also did this interview with Heroic Hollywood discussing this kind of action. You can check
out this video for a look at the stunt action-visualisation for this scene.
"Similar to the Batmobile chase, there was a concerted effort to make Batman's fight visceral and real, capturing as much in camera as possible. Stunt Coordinator/2nd unit director Damon Caro choreographed this fight and his team's 'stunt viz' gave visual effects a chance to understand the action early on.
In addition to the usual task of removing safety equipment and stunt gear, one of the main components would be that for the action shots Batman would primarily be photographed without his cape. This was to allow us to direct cape performance, allow cape continuity between cuts and to not be held up by shots with perfect stunt action but unsatisfactory cape performance. When putting the cape back in, care was taken to re-light Batman (or any of the thugs) to account for the light occlusion.
Also while the grapple gun he was holding was real, the cable and projectiles it fired we added in post. Although, surprisingly, the wooden box that he slingshots towards the bad guys was an in-camera practical gag. Lastly, we took care to make sure all of the punches and kicks really connected. We added in impact hits, spit from facial contact, and sparks from metal-on-metal contact." (Bryan Hirota, Art of VFX, 11 April 2016)
Deleted Footage:
"You will see, something that would sort of contradict that, if you noticed in that the action-viz that we shot in prep, it's a little bit longer than what we shot for the film. and he does use one of the guys as a shield in that, but it didn't make the movie because it didn't fit for the cut. So that would have violated... but he uses him as a shield and the guy had a bulletproof vest on." (Damon Caro, Screen Rant, 9 September 2018)
Doomsday
High-angle shot on Lois' feet, sloshing hastily through a puddle in a
dark passageway back in Wayne Station. Ascend to see her still holding
the spear, stopping to notice something an aqua light nearby.
High-angle shot over a flooded stairwell in the next room. Lois
enters, her shoes splashing. Angelic baroque statues surround the
chamber, adding a religious element.
Shoulder shot from Lois, panning down to glimpse the waters, the
stairs disappearing into the murky depths. The bottom is beyond our
sight, making this a good place to hide the spear.
Low-angle shot on Lois from beneath the waters. Flanked by the angels
on either side of her, she readies the spears and tosses it into the
shimmering pool, the splash obscuring our vision of her. Hiding the spear like this is preferable to keeping hold of it.
At any point, Lex's thugs could show up to apprehend her (again) and
seize the spear, giving Lex the one thing (as far as Lois knows) that
can kill the man she loves. This being an abandoned Gotham building,
she could also be mugged at any time. Perhaps the spear could
irradiate an unprotected human after prolonged exposure. She can tell
Clark about it later, as it is highly unlikely that anyone will find
it before then, but it is just not convenient to carry it around right
now.
This might symbolise the weapon (designed to kill Christ) being cleansed and baptised in holy water, making it a holy weapon
which will soon be used to kill Doomsday (which Lex later calls "the
Devil"). It may also be another reference to Excalibur, where the titular
sword was discarded by Arthur (in black armour -- Batman throughout
the earlier fight) into a lake in shame from abusing its power. Later,
the Lady of the Lake repairs the previously broken sword and raises it
(glowing green) from the lake. Lastly, this creates a misdirect with the strong sense of
discarding the spear permanently by sending it to a watery grave,
creating the illusion that, maybe, Superman is safe now.
"We had this idea of the flooded second floor of the train station because we found this flooded area. You get this notion that you've really gotten rid of it, throwing it down into the depths of this watery grave. Also, water is this sort of elemental thing to have to submerge yourself into. Rebirth, baptism, all those kinds of notions are evoked by water, and I think there are pretty obvious parallels there." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
Cut to Lex's timer, buzzing on a metal desk -- time's up. Lex
suddenly grabs it forcefully, a computer screen over his shoulder, and
glowers. He seems frustrated with the intrusion for a moment before
relaxing and giving a knowing nod. Then the timer dings, and we hear a
sonic boom.
Cut to the night sky above the hangar, lit up with spotlights.
Announced by the sonic boom, Superman flies down from above to rip
through the white tarp concealing the Kryptonian scout ship, telling
us immediately where we are. Cutting to the ship from Lois submerging the spear subtly connects
the emerald weapon with the monster about to be born, disposing of the
weapon immediately prior to the birth of its true victim.
Superman crashes through the ceiling down the alien hallway behind
Lex, landing hard. The villain gasps casually. As Superman approaches
with a Kryptonian drone following behind him, Lex says with a sneer
without looking, "'Late, late!' says the White Rabbit." Lex is referencing the 1865 Lewis Carroll novel Alice in Wonderland.
"Forty seconds to animation," comes the voice from the
ship.
Superman comes to a stop and crosses his arms. Glaring at Lex, the
cut on his cheek remains. His shield is illuminated here to emphasise the rising hopefulness of the heroes' situation.
Goof: Superman folds his arms when we first cut to him, but when we cut to the next shot -- a shoulder shot from him -- Superman in the left foreground folds his arms yet again.
"Thirty seconds to animation."
The phone suddenly rings, and Lex says, "Ah, that'll be the cook. Excuse me." He excitedly hops over to the work table. "Uh, Gotham roast. Well done." The way he so casually talks of Superman's own mother being
burned alive right in front of him is especially sadistic, utterly confident that his new creation will make him untouchable in the face of Superman's rage. He leans into
the radio and joyfully feigns a concerned look. "Hello. Break the bad news."
"I'd rather do the breaking in person," says Batman on the other end. Earlier, Superman said he would take Lex in without breaking him, while here, Batman cannot wait to break Lex, drawing more contrast between the two.
Lex does not look happy anymore, his smile vanishing. After his routine
atrocities and cruel acts throughout this film, it is rewarding to see the
tables turned on him for this moment. His smug demeanour is gone.
"Twenty seconds to animation."
"You've lost," says Superman, sternly. This line is pure, classic, traditional superhero.
Looking at Superman now, Lex's expression displays subtle signs of anger. He takes a step forward and tries to look dignified. "I don't know how to lose."
"You'll learn," responds Superman, yet another example of his subdued sense of wit.
Defiant before Superman, Lex chuckles. "Haha! I'll learn!" he says with a mocking tone. Then his demeanour breaks a little again as he waves a finger. "I don't hate the sinner." He points at Superman. "I hate the sin."
"Ten seconds to animation."
While Superman continues scowling at him, Lex concludes, "And yours, my friend, is existing." Recall, earlier in the film, in response to the question of, "Must there be a Superman?" Finch merely responded, "There is." Now Lex is about to rectify the problem of Superman's existence.
Superman says nothing. Then the ship's voice begins a countdown from eight seconds.
"Twenty seconds to animation."
"You've lost," says Superman, sternly. This line is pure, classic, traditional superhero.
Looking at Superman now, Lex's expression displays subtle signs of anger. He takes a step forward and tries to look dignified. "I don't know how to lose."
"You'll learn," responds Superman, yet another example of his subdued sense of wit.
Defiant before Superman, Lex chuckles. "Haha! I'll learn!" he says with a mocking tone. Then his demeanour breaks a little again as he waves a finger. "I don't hate the sinner." He points at Superman. "I hate the sin."
"Ten seconds to animation."
While Superman continues scowling at him, Lex concludes, "And yours, my friend, is existing." Recall, earlier in the film, in response to the question of, "Must there be a Superman?" Finch merely responded, "There is." Now Lex is about to rectify the problem of Superman's existence.
Superman says nothing. Then the ship's voice begins a countdown from eight seconds.
Lex walks right up to Superman, totally unafraid, ranting,
"I cannot let you win. I gave the bat a fighting chance to do it, but
he was not strong enough. So, if man won't kill God..." Lex cocks his head again and
hurriedly steps away.
"Two... One..."
Lex steps toward his creation in the Genesis Chamber and yells, "...the Devil will do it!" This may be a reference to German philosopher Friedrich Nietzsche's famous words, "God is dead. God remains dead. And we have killed him," from The Gay Science (1982). Considering the allusions between Superman and God, and now Doomsday and the Devil, Lex is correct that "the Devil" will kill "God" by the end of the film.
"Two... One..."
Lex steps toward his creation in the Genesis Chamber and yells, "...the Devil will do it!" This may be a reference to German philosopher Friedrich Nietzsche's famous words, "God is dead. God remains dead. And we have killed him," from The Gay Science (1982). Considering the allusions between Superman and God, and now Doomsday and the Devil, Lex is correct that "the Devil" will kill "God" by the end of the film.
Cut to a large egg-like sac in the middle of the chamber. We hover around
to watch a series of injectors begin jabbing the thing, filling the
gruesome object with electrical energy. The excessive use of lightning here again draws parallels to how
Frankenstein was given life from lightning, which would certainly fit
what this scene is going for.
Rear shot on the pillars surrounding Superman's statue in Heroes Park.
Ascend right to reveal the scout ship hangar across the plaza,
Superman's statue in the left foreground. The structure is on fire with electricity.
Wide high-angle shot of the plaza. A blackout radiates outward from the
crash site, and the buildings of Metropolis go dark one by one.
Shoulder shot from Jenny Jurwich on the screens lining the Daily Planet
walls showing helicopter footage of the spectacle. The lights go out and
the screens fizzle to black.
Jenny darts her head around, submerged in blackness while the Planet
staff yell and panic, illuminated only by the flashing lights beyond the
window. "Perry!" she calls.
Visible sporadically through the flashes, Perry turns from the windows to the crowd, raises his hands, and yells
authoritatively, "Alright. Stay calm, everybody!"
Jenny continues peering around frantically.
Shoulder shot from Major Carrie Farris (Christina Wren, reprising her role from Man of Steel) looking at wall-mounted television screen where CNN reporter
Anderson Cooper (making a cameo as himself) says, "We're getting reports there are total blackouts in the north and to
the northwest of the city." Pan left to the next screen over Farris' other shoulder, where
satellite imagery depicts Metropolis going dark.
Wide shot of the conference room. On the far side of the desk, Calvin
Swanwick stands, focused on the screens. Behind him is the emblem of the
National Military Command Centre. The Chairman of the Joint Chiefs of Staff (Greg Violand) looks concerned while the Secretary of the Air Force (graphic designer Tom Whalen)
turns to Calvin.
Cooper goes on, "Federal authorities are trying to determine if this is part of a
larger terrorist attack..."
As he says this, Calvin removes his glasses.
High-angle shot above the Genesis Chamber. A Kryptonian drone swims
in the murky orange-lit waters below, and within the chrysalis lurks a
foetal shape, twisting within the abominable machine.
Watching his plan unfold, Lex breathes rapidly with anticipation and excitement. He cheers, "Ancient Kryptonian deformity!" Then he turns to Superman behind him and raises his bandaged
hand. "Blood of my blood." He removes the bandage to reveal the cut on his hand,
finally answering Superman's earlier question, "What have you
done?"
Cut to the creature in the sac, its grotesque face pressing against the
translucent membrane. It roars, muffled in the amniotic fluid.
Deleted Dialogue: In behind-the-scenes footage, we can see Eisenberg yell the line, "Obeys only me!" before turning to say, "And born to destroy you!" This was likely removed to put emphasis on the blood connection and avoid questions of why Doomsday subsequently attacks Lex.
Lex gestures to Superman and says, "Born to destroy you!"
Superman looks disturbed by the horrific spectacle below. He turns to glance at Lex, putting together what the villain has done.
Dramatically, Lex performs an introductory gesture at the monster. "Your Doomsday."
Superman looks disturbed by the horrific spectacle below. He turns to glance at Lex, putting together what the villain has done.
Dramatically, Lex performs an introductory gesture at the monster. "Your Doomsday."
We turn to follow his gesture, looking down into the chamber to see the
Kryptonian drones back away from the sac, and the creature finally tears
through the membrane as amniotic fluid pours from the widening tear.
Doomsday, the name derived from the same monster from the comics, wipes
the gelatinous fluid from its face as it stands to its full height. Then
it roars up before snarling a growl.
"I will honour the man you once were, Zod. Not this monster you've become." (Jor-El, Man of Steel)Superman looks horrified by the sight.
Doomsday growls and roars further, but more quietly as it seems to take
in the sight of the little man standing arrogantly before him.
Lex is dwarfed by the monster directly in front of him as more goop
slides off the creature. Grinning maniacally with confidence in his victory, Lex growls,
"Now God... is good... as dead." This may be fulfilling the Nietzsche reference, "God is dead. God remains dead. And we have killed him," but may also be referencing the expression, "God is good." Both may be combined.
The monster suddenly lets out an angry roar, blowing hot breath.
Lex closes his eyes as the monster's breath blows his jacket open. He
seems completely unafraid and confident.
Behind him, Superman enters a fighting stance, looking ready to jump into
action.
Then the creature flails and roars wildly. Zoom backwards to a shoulder shot from Lex as
the beast shrieks at him before suddenly throwing a punch at his
creator.
Doomsday's enormous fist is intercepted mid-air by Superman, now
hovering between Lex and the monster. Superman has saved the villain from his own folly.
Superman grapples with the monster's huge fist. Over his shoulder, Lex looks confused, whether by Superman's saving him or the monster disobeying him. This is a direct parallel to what
Lex said earlier: "No man in the sky intervened when I was a boy to deliver me from Daddy's
fist and abominations." Here, Lex's own blood has turned on him yet again, and it is
Superman who saves Lex from the fist of an abomination -- one of Lex's
own making. To save even a villain's life from his own folly is a
pinnacle act of heroism.
With a grunt, Superman throws
Doomsday's fist aside. The beast falls back, and Superman presses the
attack with a punch, forcing Doomsday into the mess of cables against the
wall of the chamber, collapsing onto all fours.
Then Superman flies at Doomsday for another strike, but suddenly the
monster is stranding straight and catches the Man of Steel's smaller
body in its giant hand. Then the beast leaps up, crashing through the
ceiling amid the mess of biomechanical machinery.
Cut to the upper exterior of the container. Doomsday bursts out from
the white tarp, up into the air above. With an aerial punch, he sends
Superman flying across the plaza, and we snap zoom to follow his
trajectory. This kind of camera work is again reminiscent of the
cinematography used in Man of Steel to depict
grandiose action with realistic camera movements.
Superman comes crashing down to the ground, tearing a trail through the pavement before skidding to a stop at
the monument steps, half-buried in chunks of debris.
Panting on the ground, Superman slowly recovers, climbing to his feet
when Doomsday suddenly lands up ahead between him and the statue. The creature that
was once General Zod slowly stands up straight to glare at the face of
his adversary on the monument and snarls with contempt, possibly in familiarity. Then Doomsday turns to look down at the puny real thing standing
below, as if to say, "Ah, but look how small you really are," contrasting the grandiosity of Superman's public image
with the real him.
Wide shot of the monument, Superman in the right foreground while
Doomsday turns to face him in the centre frame. A news helicopter
circles above, dramatically moving a spotlight across the background.
This amazing shot does a great job of emphasising the scale of the threat
Superman now faces. The merged forms of the statue and the monster
could also be symbolic of how some see Superman not as a heroic
figure, but as a monster, so Superman is thus looking at himself as
others see him.
Superman, looks up at his foe. Undaunted, he suddenly flies at the
beast to collide with its stomach, forcing him back against the
statue.
The monster goes no further, and grabs Superman with his giant hand
to toss him aside like a ragdoll through the black marble surrounding
the statue, shattering the monument like glass.
Superman skids into the ground yet again, but before he can recover, Doomsday tears one of the tablets from the ground and steps towards
the Man of Steel. On the ground, Superman turns to see the monster coming at him, but is
too late to react. Very symbolically, Doomsday piledrives the superhero with the slab; quite literally smashing him over
the head with the names of the people he could not save in Man of Steel. As the remains of the black marble fall away, the monster reaches
down.
"The insult of using the memorial to bash [Superman] with it and the names of those who were lost is like an added insult, and also using him to destroy his own sculpture and his own likeness I thought was a really symbolically interesting weapon against himself." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:23:16)
Cut to the head of the statue lying on the ground, a likely foreshadowing
Superman's lifeless body at a similar angle to his face. Looking up, we
see the spotlight of the news helicopter silhouetting Doomsday, shining a
light on the monster. It turns to growl at the bothersome chopper.
The monster bounds into the sky at the vehicle, bursting through the
chopper in a fireball, and we track his ascent as inertia carries him up
towards LexCorp Tower.
Doomsday hits the peak spire, stopping his ascent, and falls to the roof
in front of the illuminated LexCorp sign high above the cityscape, landing in sight
of yet another news chopper.
A speakerphone is on the table. "Mr President," Calvin immediately says to it.
"What the hell is it, Calvin?" asks the President over the speakerphone, played by Patrick Wilson, who also played Nite Owl in Zack Snyder's 2009 adaptation of Watchmen and Ocean Master in James Wan's 2018 spinoff Aquaman.
Calvin looks anxious.
We hear Anderson Cooper saying, "These are live images from the top of the LexCorp tower in downtown metropolis." Cut to one of the screens, showing the monster standing up
straight in front of the LexCorp logo, like a glaring indicator that Lex is responsible for this, and the
news footage zooms to get a closer look. "Military aircraft are on the scene."
Following Cooper's words, we cut to a mounted shot from the wing of the
rear chopper in formation of Boeing AH-64 Apaches, approaching LexCorp
Tower from between the Metropolis skyscrapers below.
Connecting that imagery, we cut to a mounted shot on the hood of a
police cruiser, looking in on two officers driving in formation with
several other cop cars. Their sirens are all blaring.
Martha is waving her arms in the air to flag down the arriving
officers. The destroyed mercenary vehicles are burning nearby, and we
immediately know we are outside the warehouse. As the cars come to a
stop, Martha doubles over breathlessly.
An officer rushes from his vehicle to her, asking, "Are you hurt, ma'am?"
"I'm okay," she responds, face lit up with the red and blue lights from the vehicles.
We hear a loud buzzing, and the two characters turn to see the Batwing rise into the air further down the dock, heading in their direction with its headlights. They look up as the Batwing flies soars over them. Smiling now, Martha seems to wave goodbye, and the vehicle speeds off into the night.
Ascending crane shot on the rear of a Turkish Airlines Airbus A330-303 parked at the airport, LexCorp Tower visible in
the Metropolis skyline in the distance. We hear Anderson Cooper
explaining, "This thing emerged from the Kryptonian crash site just moments
ago."
Cut to the passenger cabin, where Diana Prince stows her luggage
in an overhead storage space. Then she glances down, noticing the
spectacle on the television built into the seat ahead of her.
Behind her is the Turkish Airlines logo on the wall, one of the
film's instances of product placement.
According to
TheWrap, Turkish Airlines spent "in the mid-eight figures" for
this sponsorship. Fake commercials for
Gotham
and
Metropolis
destinations were created for viral advertising.
Cooper goes on, "Thankfully, the work day is over in the downtown core. It's
nearly empty." This is a reminder to the audience that the vast majority of
Metropolis citizens are not in any
immediate danger.
"Now, military aircraft. Those are Apache helicopters. They have now just arrived. The images that..."
Connected by Cooper's description, we cut to LexCorp Tower, where the Apaches take positions around Doomsday. The monster growls before they suddenly fire a barrage of bullets and missiles at the beast, who roars in rage.
As the sign explodes, Doomsday leaps off the logo to land on the helipad
below. The damage brings portions of the tower down behind him.
Doomsday turns hurriedly examine the debris. Snarling, he reaches for
the giant letter X from the logo, swings it around, and tosses it at one
of the helicopters, destroying it. The beast roars angrily.
Another explosion suddenly goes off in the monster's face, engulfing
him in flames. He gets hit again, then over and over. He hunches over,
head in hands as if in pain. Explosions continue to ineffectively pester
him as an orange glow begins to grow out from inside him through his
ribs, brighter as the blasts keep hitting him.
Then Doomsday roars to the heavens, throwing his arms wide as a fiery electrical blast explodes out from the creature. It expands to
incinerate the structure and the helpless choppers.
Low-angle long shot of LexCorp Tower among the skyline to see the blast
spread out far across the sky in a dome, filled with orange streaks of
lightning, blowing away the rooftops of the adjacent skyscrapers. This
phenomenon, which the crew dubbed a "boosh",
accompanies a power growth in Doomsday, furthering his evolution.
His placement on LexCorp Tower, the tallest building in the city,
guarantees the safety of the city's populace -- our second oddly
convenient reassurance.
"So this was the first 'Boosh'. I know that's weird. Everything superheroes do that's big and powerful, we call it 'Booshing', even when Wonder Woman [does it] we call it 'Booshing'. The notion was that [Doomsday] would charge up and do that. That's how he would eventually destroy the world." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
Cut to the television on Diana's flight, depicting the scene on the
helipad as the blast grows outward, and the camera fizzles out,
leaving Cooper in the CNN studio, finger to his ear. "We've, uh..."
Diana looks further concerned before switching to a thoughtful
expression, perhaps with a hint of guilt.
Cooper continues, "We just lost connection with Metropolis 8 News. Now, it's not
clear what just happened."
Scene Overview
Back inside the derelict building, Lois disposes of the Kryptonite
spear in a flooded stairwell, a move which will serve the heroes in
the big finale and place Lois at the emotional climax of the movie.
Elsewhere, Superman arrives at the scout ship to confront Lex. Having
failed to kill or demonise Superman, the villain unleashes his final
trump card, a Kryptonian monster grown from Zod's corpse. It proves
unstoppable, absorbing any damage to create powerful shockwaves.
Scene Analysis
This scene has introduced the world to Doomsday, an ancient Kryptonian abomination that Lex has grown from the corpse of General Zod. His inclusion in the film was set up from the moment Lex began bribing Barrows for the resources he needed to open the scout ship, and that has led us here to Lex's final trump card.
The time spent with the high-ranking military personnel in the Pentagon tells us that this is not merely some random supervillain fight, but something that concerns the world, not just Superman. We cut back here several times before the film is done, and each time reinforces the scale of the calamity with a layer of believability. This is big, and Superman has
clearly met his match.
I love this scene for its atmospheric terror. The rumbling music builds so much tension as the reality of this catastrophic new threat sets in. The imagery is reminiscent of classic monster movies like Godzilla (1954) or King Kong (1933), the latter depicting the titular rage-fuelled monster climbing a skyscraper while military aircraft try to shoot him down.
Musical analysis coming soon.
Behind the Scene
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|
"I think we underestimate an actor's ability to stay focused." Clay Enos, Twitter, 27 June 2016 |
Zack Snyder mentioned
during the BvS Watch Party that the idea for the flooded stairwell came from
a flooded area they found at Michigan Central Station. He later confirmed in
the director's commentary (2:15:16) that the pool was built on a soundstage
at the late Michigan Motion Picture Studios, Pontiac, Michigan. The sequence
was shot in June or July 2014 when the crew were filming in Pontiac.
The original scout ship interior set was demolished after Man of Steel filming, so a new set was constructed at the late Michigan Motion
Picture Studios along Centerpoint Parkway, Pontiac, Michigan. The sequences here were
shot in June or July 2014 when the crew were filming in Pontiac.
Heroes Park was shot at an outdoor green screen set at the late Michigan
Motion Picture Studios along Centerpoint Parkway, Pontiac, Michigan. The statue was (partially) real but built from artificial materials and ready around 9 June 2014. It was taken down on the 20th after serving its purpose and replaced with the fake debris. Bananadoc has photos of the prop department setting the flowers.
Diana's plane was shot at the Turkish Airlines wing of O'Hare International
Airport in Chicago, Illinois. Shooting occurred on
14 November 2014, and
was
the last thing filmed in the state
before the crew relocated to New Mexico. According to their source, TheWrap
reported
it cost millions of dollars to organise the shoot, but they also mistakenly
wrote the airport was in Detroit, so take this with a huge grain of salt.
The Pentagon conference room was filmed in the Wayne County Building, 600 Randolph Street, Detroit, Michigan.
It is the same location used for the Capitol interiors. Filming most likely
occurred around late August 2014 when the crew were filming at the location.
Into Space
Inside the cockpit, Batman blinks in anxiety, and asks, "What's happening there, Alfred?"
Cut to Alfred in the Batcave, shifting uncomfortably at the Bat-computer. At a total loss for words, he exhales and says, "How best to describe it?" A little humour to add some levity in this brief reprieve from the action.
On the plane, a flight attendant (Abigail Kuklis) preps a trey of drinks for the passengers in the kitchen area.
"Metropolis airspace has been closed briefly," says the captain over the intercom.
To the attendant's left, Diana storms off the plane onto the boarding
bridge opposite, luggage in both hands.
"Excuse me?" calls the flight attendant.
"We kindly ask that you stay in your seats," says the captain, a small verbal gag on Diana blatantly
evacuating.
The flight attendant follows Diana out of the plane.
"Excuse me?" she calls again.
Backwards tracking shot on Diana storming down the boarding bridge in the
right foreground. The flight attendant steps onto the bridge in the left
background.
Out-of-focus, the attendant calls, "Miss Prince!" This is the
first time Diana's last name is mentioned in the film.
She refuses to respond, and continues to leave with determination.
Farris looks at a diagram showing the targets gaining altitude. Lowering the phone from her ear, she says, "Sir. Look, they've cleared the city."
Also looking at the screen, Calvin notes hopefully, "Looks like he's taking it into space."
The Chairman of the Joint Chiefs of Staff is standing beside the screen. He turns to the speakerphone on the conference table and says authoritatively, "We can go straight to Key Red, Mr President."
Shocked at the callous suggestion, Calvin snaps, "Not yet! Are you crazy?!"
The Chairman responds firmly, "They're high enough we can nuke 'em with no casualties, sir."
She refuses to respond, and continues to leave with determination.
Cut to circling Doomsday as he roars at the city below with
unrestrained rage from the flaming top of LexCorp Tower. His position and continued roaring makes the monster appear dominant
and unstoppable, having annihilated all his enemies like something out of a classic monster movie.
Then, out of nowhere, Superman comes up from below, slamming into the creature's back
and flying him into the sky, disappearing into the clouds. Doomsday's core is glowing orange yet again,
absorbing the energy of Superman's impact before the glow
dissipates. This becomes a running theme as we see Doomsday grow ever
stronger as he absorbs all forms of energy.
Superman's hard and laboured breathing shows that this either takes a great
deal of effort on his part or he is terrified in this moment.
Wide shot of the spectacle, tracking Superman breaking the blanket of
clouds with Doomsday held above him, roaring with confusion as they
approach the upper atmosphere.
Farris looks at a diagram showing the targets gaining altitude. Lowering the phone from her ear, she says, "Sir. Look, they've cleared the city."
Also looking at the screen, Calvin notes hopefully, "Looks like he's taking it into space."
The Chairman of the Joint Chiefs of Staff is standing beside the screen. He turns to the speakerphone on the conference table and says authoritatively, "We can go straight to Key Red, Mr President."
Shocked at the callous suggestion, Calvin snaps, "Not yet! Are you crazy?!"
The Chairman responds firmly, "They're high enough we can nuke 'em with no casualties, sir."
Cut to a glimpse of Farris as he says this, eyes darting between the two
men.
Calvin leans against the desk and says to POTUS, "One casualty, Mr President -- Superman."
There is a moment of hesitation before the President sighs and says, regretfully, "God have mercy on us all." Though he makes this order fairly quickly, his words show that killing Superman was not something he wanted to do. This may be a callback to Jack's line during the Black Zero scene: "And may God, creator of Heaven and Earth, have mercy on my soul." Of course, this is yet another reference to divinity, and considering Superman is the one they are nuking, it is like an apology to Superman.
Calvin leans against the desk and says to POTUS, "One casualty, Mr President -- Superman."
There is a moment of hesitation before the President sighs and says, regretfully, "God have mercy on us all." Though he makes this order fairly quickly, his words show that killing Superman was not something he wanted to do. This may be a callback to Jack's line during the Black Zero scene: "And may God, creator of Heaven and Earth, have mercy on my soul." Of course, this is yet another reference to divinity, and considering Superman is the one they are nuking, it is like an apology to Superman.
Farris lets out a sigh, but of disappointment or relief?
Cut to a concrete hallway. Military personnel rush by, out through a
massive closing blast door plastered with the US flag while an alarm
blares.
In what we can immediately assume is a nuclear missile silo control room,
two soldiers hastily take the two keys presented within a small
briefcase.
Seated at their consoles, the two officers
insert their keys, keeping their hands on them. "Key is hot," says one officer (Jesse Nagy).
"Key is hot," says the other (Jonathan Stanley).
At HQ, Farris blesses herself with the sign of the cross, yet more distinctly religious imagery, as another officer solemnly
explains off-screen, "Red birds are armed to deploy, sir."
As he says this, Calvin looks distressed at what they are about to
do.
After a short pause, the President says over the speakerphone, "Fire at will."
They turn their keys in unison.
Facing Calvin, the Chairman then turns to face the screen behind him. We
hear the rumbling of a missile launch.
High-angle on the missile in its silo, rocketing upwards and consuming the
camera in fire.
Distant low-angle shot on the projectile, lighting up the night sky as it
ascends in the distance. Tree branches partially obscure the sight, rustling
in the wind and juxtaposing the imagery of weapons of mass destruction
against the serenity of nature. Snyder confirmed this intent...
"I always liked that idea of having the leaves in focus in the foreground as the missile launches in the background. Again, the natural world overlapping our own world. It's a bit of a theme of the movie, I think." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:26:20)
Superman is stunned momentarily, but then keeps up his attack, flying up
to punch Doomsday in the stomach, sending him further out into space with
a new orange glow from the impact, and Superman pursues further
still.
Mounted shot from the rocket's chassis facing downward to observe the
lower section of the missile separate from the primary thrusters as it
escapes the atmosphere. Then the warhead fires its secondary thruster, half-way to its target
and rocketing out into the void.
We track Superman up into another punch that sends Doomsday flying into
space. Then he turns down to look at the approaching missile heading in his direction from
below. He flies up out of frame before the rocket flies by, and we turn to
see it follow him.
Doomsday is spinning through space when Superman collides with the brute,
closely followed by the nuclear warhead. He grapples with the monster's
head. Doomsday seems confused for a moment before reaching back to grab his
assailant, vainly trying to tear him off, but the superhero maintains his
firm grip on the roaring beast.
Long shot of the scene. The missile is ascending straight up from below
in the centre frame, on course to hit the two Kryptonians above. The
sphere of the Earth is half the shot, Superman dragging his enemy into a
heavenly battle to spare the world their clash.
Grimacing, Superman turns his head to look down at the approaching
missile.
Mounted shot from the warhead facing up, its targets ahead. Superman
turns the beast to face the incoming rocket head-on, lighting up both
characters before they both disappear in a flash of bright light and a
muffled bang.
Fallout
In the cockpit, the same light reflects in the windshield. Looking up, he
says only, "Oh, God."
The Batwing soars over the Metropolis skyline. We turn to follow its
pass, and stop to see the spectacle in the sky. Through the clouds, beyond
the atmosphere, is an enormous explosion. Batman's words can also subliminally put God in the viewer's mind in
association with this heavenly, terrible spectacle.
At the Daily Planet, Perry and his staff looks up at the blast reflected
in the window of his office. One of the employees in the background begins
recording with her phone.
In Gotham, Lois exits the abandoned Wayne Station, stepping out into
the open air to look up at the burning sky from which a fireball descends to Earth over the bay.
Lois watches in a mix of concern and awe.
The fireball sings as it descends before crashing into an empty
field, the subsequent explosion spreading out across the landscape
before dissipating into a cloud of smoke. Doomsday's descent here is possibly symbolic of Lucifer's fall from
Heaven, further representing Doomsday as the Devil figure. It also
parallels Lex's reference to Icarus earlier, flying too close to the
sun/Son and falling back to Earth.
Cut to Farris looking at the screen showing a satellite map over
Gotham, Metropolis, and the island in between, where a red ring emerges
to indicate the impact point. A phone to her ear, Farris says, "Projectile one. Impact. Stryker's Island, east of Metropolis."
"That's uninhabited," says the Air Force Signals Officer (Steve Jasgur) over her shoulder, also on the phone. This is yet another reminder that civilians are not in immediate danger. I get the impression these excessive reassurances may have been a deliberate tactic to lampshade and satirise the criticisms of collateral damage in Man of Steel by deliberately contriving the safety of the populace.
"Projectile two..." begins Farris.
On the orbital map, the second indicator, still in orbit, soon
disappears.
Calvin looks up in concern.
Everyone is focused on the screen in an uncomfortable silence.
Farris turns to Calvin and timidly says, "No apparent re-entry."
"Projectile two?" asks the President from the speakerphone.
Looking remorseful, Calvin leans against the table and responds regretfully, "Superman, Mr President. Projectile two was... Superman."
After a beat, the Signals Officer interrupts, "Sir." He is pointing at the screen. Looking concerned, he says, "It's moving."
"Projectile two?" asks the President from the speakerphone.
Looking remorseful, Calvin leans against the table and responds regretfully, "Superman, Mr President. Projectile two was... Superman."
After a beat, the Signals Officer interrupts, "Sir." He is pointing at the screen. Looking concerned, he says, "It's moving."
On the screen, seismic waves seem to be emanating out from Stryker's
Island.
Cut to smoke, emerging to descend on and circle around Doomsday to
watch him rip the skin off his shoulders, exposing grey muscle and
violently protruding bone shards emerging from his flesh. His body
grows, arm muscles expanding and skin falling away as the creature emits
a storm of orange electricity once again. He eyes his hand before
slamming his fist into the ground as if in pain yet again, then pulling
it back to examine it. Now his body is lit up with energy, his face
glowing as he roars.
Close-up on Doomsday's face, turned now to the sky. A deep hum can be
heard, like a generator charging up, before we suddenly pull back from
another explosive electrical blast.
Distant shot of Doomsday, firing a beam of energy from his body into
the sky as yet another orange wave of fiery electricity expands outward
from the monster.
Distant shot of the island to see the explosion grow over the waters of
the bay.
Top-down shot of the bay from orbit to see the explosion expand, a
beam of heat vision passing quietly by the camera before dissipating.
The explosion just seems to continue growing as we pan right slowly to
reveal the skeletal husk of the being that used to be Superman. His
flesh is decayed, his muscle is gone, and the bones of his face are
visible.
This haunting image is taken directly from The Dark Knight Returns, where Superman is reduced to a shrivelled skeletal form after
tanking a nuclear explosion from the missile he successfully
deflected. This shot also bears a striking resemblance to
Michelangelo's The Creation of Adam (1508-1512), a painting by Michaelengelo that depicts God and Adam reaching for
each other with their fingertips, and Superman here is in the place of
God, which would also fit with the idea of Superman's destiny being to
guide humanity. It might also be another visual nod to the ending of
Stanley Kubrick's 2001: A Space Odyssey (1968), where the protagonist becomes a foetus-like being that
floats in orbit above Earth.
"The shockwaves are
getting stronger,"
we hear Calvin say.
On the speakerphone, the President cautiously asks, "What are you saying, Calvin?" The lighting is different in this shot, illuminating the device so we can more easily see the display. We can now see that the caller is from "Line 1 - 9375", a reference to the comic issue in which Superman finally died at Doomsday's hands, Superman #75 (1993). A very subtle yet ominous piece of foreshadowing.
With a sigh, Calvin responds, "I'm saying it's unkillable."
The Batwing flies over the charred remains of Stryker's Island.
Batman approaches the epicentre of the blast. The whole place is charred and burning, like hell brought to
Earth.
Inside, Batman looks closer as we hear an accelerating beeping. We
see Doomsday standing amid the smoke through the canopy as we pass the
creature, his distant face glowing hot.
The monster growls angrily as his face lights up, turning to follow
the movements of the Batwing. Then he fires a tremendous blast of heat vision from his whole face.
Batman grunts as he pulls forcefully on the controls to avoid the
beam that lights up the exterior beyond the canopy.
Doomsday tails the flying vehicle with his heat vision before the
Batwing ducks behind a burning hill, out of sight, and the beam rips
up the ground.
Batman turns sharply on the controls with further groans of effort,
and the Batwing swoops down from the hill over the bay, churning up water as it skids by.
"Alfred," responds Batman, and we cut back to him in the cockpit, "it's Kryptonian. Only Kryptonite weapons can kill it." He is visibly and audibly shaking, likely due to turbulence, but this creates the sense that, for once, the Batman feels fear, having never faced anything like this before. He knows full well just how massively outgunned he is in this situation.
In the Batcave, Alfred looks worrisome and disappointed. He responds, "They might... if you had any left." This is a cutting remark about Batman's wasteful crusade against Superman.
On the Bat-computer, Batman looks down at the grenade launcher and responds, "I got one round left." In the cockpit, an epiphany comes to him. Breathing rapidly, he says, "The spear. Alfred, the spear. It's pure kryptonite. It's back in Gotham. If I can penetrate the skin, the spear will kill it."
In the Batcave, Alfred nods. "It would in theory."
Side close-up on Batman in the cockpit to generate new tension. "I gotta get it to chase me... Back to the city... Back to the Kryptonite." This is a stategically sound decision, as the port is abandoned and leaving Doomsday unattended risks him leaping back to a dense population and killing millions. We hear Batman activate something on the controls.
Cut to the Batwing through a splash of water. It flies ahead and ascends
vertically, looping to turn back and fly by.
Batman pulls the trigger on the joystick, firing the
Batwing's forward Gatling cannon once again, furiously blasting away. Inside,
Batman is illuminated by the muzzle flashes, shaking from the recoil.
Doomsday is unaffected by the hail of bullets until an explosion knocks
him slightly, glowing a little as he absorbs the energy. He roars before
swiping with his arm to prematurely detonate another approaching missile,
and the vehicle flies right over him. He roars.
Enraged, Doomsday crouches before taking a mighty leap.
High-angle shot on Stryker's Island, pulling back into the clouds as the
Batwing flies by. Close behind is Doomsday, launched through the air in hot
pursuit, face glowing hot before firing off another blast of heat vision
that consumes the frame.
Scene Overview
As Doomsday wreaks havoc upon Metropolis, Superman whisks the monster
into space, away from the endangered people of Earth. Under the
protests of Calvin Swanwick, the Pentagon fires a nuke at the
struggling Kryptonians, seeking to spare humanity at the expense of
Superman. This act of cowardice is proven fruitless as Doomsday grows
ever stronger by absorbing the energy of the blast. Alone, Batman
resolves to lead Doomsday back to the port towards the Kryptonite
spear.
Scene Analysis
This scene combines elements from two stories. Superman flying Doomsday into space is taken straight from the original The Death of Superman, and Superman being caught in a nuclear blast and shrivelling up into a husk comes straight out of The Dark Knight Returns, so both have been perfectly combined here. It may also have taken inspiration from Superman: Earth One Volume Two (2012), where the Parasite becomes a hulking monster after absorbing Superman's power and the military fires a nuke at him to no effect.
"Look, I'm here to help, but it has to be on my terms, and you have to convince Washington of that."
"Even if I were willing to try, what makes you think they'd listen?"
"I don't know, General. Guess I'll just have to trust you."
This scene represents humanity making the cowardly choice to kill Superman for their own sake. Carrying on from his relationship with Superman after Man of Steel, Calvin Swanwick (Martian Manhunter) tries to convince Washington not to nuke him. The scene also shows what Superman can come back from, in turn assuring us that he is dead for real after Doomsday pierces his heart and the morning sun rays cannot revive him.(Superman and Swanwick, Man of Steel)
"He comes very close to death in space and the reason why we did that is because I wanted to show -- and keep the idea in the viewer's mind -- that he can come pretty close to death and the sun can revive him, or he can be revived. I think something more is gonna need to be done." (Zack Snyder, Entertainment Weekly, 26 March 2016)
Musical analysis coming soon.
Behind the Scene
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| Concept art by Vance Kovacs |
The missile silo was shot at an unknown location. On 31 October 2014,
Jonathan Stanley, who played one of the silo officers, posted
this photo of
himself with fellow officer Jesse Nagy and director Zack Snyder to his
Instagram, suggesting the sequence may have been filmed around that
time.
Diana's plane was shot at the Turkish Airlines wing of O'Hare
International Airport in Chicago, Illinois. Shooting occurred
on 14 November 2014, and was the last thing filmed in the state before the crew relocated to New Mexico. According to their
source, TheWrap reported it cost millions of dollars to organise the shoot, but they
also mistakenly wrote the airport was in Detroit, so take this
with a huge grain of salt.
The Pentagon conference room was filmed in the Wayne County Building, 600 Randolph Street,
Detroit, Michigan. It is the same location used for the Capitol
interiors. Filming most likely occurred around late August 2014
when the crew were filming at the location.
Is She With You? / Trinity vs Doomsday
Front shot of Superman, slowly pushing in. We see his muscles grow and his flesh regain some colour as the solar
radiation restores his strength. The cut down his face also heals.
Consistent with the motif, his expanding chest slowly turns to the
camera throughout the shot, causing the sun to shine symbolically ever
more on his shield as he gains strength, emphasising the deliverance of
hope with his recovery. As we close to a medium shot, he suddenly opens his eyes, burning hot with life and energy.
The cut here implies Superman's impending intervention to save Batman,
in turn setting up the misdirect for Wonder Woman's arrival. This rejuvenation from a morning sun that has not yet fallen upon the
United States certainly makes Superman live up to his nickname as the
"Man of Tomorrow", though this was probably not intentional.
Cut to smoke, emerging to see Doomsday falling through the air towards
Gotham and arcing his heat vision across the view, aiming for the Batwing.
They descend into the darker area of the city, the abandoned port, with
Wayne Station visible below. Doomsday fires his heat vision again.
As Batman attempts to evade the attack, the beam cuts the edge of the
roof of Wayne Station and nips the wing of the vehicle. It bursts into
flames, knocking Batman around violently inside the cockpit as he loses
control.
The Batwing crashes into the ground, sliding across a parking lot to rip
through several parked vehicles. The decapitated cockpit screeches to a
stop against the wall of a decrepit building. The canopy has been torn
off, and Batman is frantically trying to undo his seatbelt. Recall
the drones destroyed in the Nairomi scene and towards the end of Man of Steel -- a few minutes earlier, the Batwing was switched to drone mode,
and now it gets destroyed too.
With a roar, cut to Doomsday crashing down from above Wayne Station, and
snap zoom back to see him churn up asphalt as he skids to a stop, angry
and growling.
In the cockpit, Batman ceases his struggling to look up. "Oh, shit," he mutters. The tables have turned dramatically on him,
transforming from a monster of the night who brought down Superman, to
being afraid and helpless before an actual monster.
Doomsday takes a step forward. His face begins to glow yet again as he
growls.
Batman is helpless but to raise his hands in a pathetic attempt to shield
himself.
Doomsday fires his heat vision just as a figure drops down in the beam's
path. The prior sequence naturally misleads the audience into assuming
Superman has arrived.
With a vibrating hum as the blast bounces against something, the frame is consumed in
fire.
After a few moments on Doomsday's burning face, he deactivating his heat
vision.
The fire disappears, revealing a medium shot pushing on Batman's saviour. Clad in a uniform reminiscent of Greek armour, Diana Prince has her glowing gauntlets raised in
an X shape in front of her, breathing heavily, but with a look that shows
she is ready for action. This reveal is widely considered the coolest moment in the film, and
understandably so, especially thanks to the music. By now, most had probably
forgotten about Diana's last appearance leaving her plane, making this an unexpected surprise.
As she lowers her arms, so too does Batman, seeing the newcomer and
looking awed.
With a yell of effort, Wonder Woman draws back her arms before striking her bracers together, creating an enormous shockwave that sends Doomsday back. However, the monster is undeterred, and snarls at her.
Diana hears a distant boom, and looks up. Superman descends from space, curving through the air to throw himself into Doomsday. He carries the monster a fair distance before allowing the beast to go flying on its own inertia into an oil refinery, colliding with enormous tanks that begin exploding. From one tank to another, flames travel between the pipes connecting them, quickly annihilating a good portion of the dock in the inferno.
Cut to Lois, watching the action from beside Wayne Station. She looks
down thoughtfully as an idea comes to her. With the flaming oil depot in
the background, she turns and dashes back inside the building.
Entering the grimy hallway, she loses her footing in the deep puddles of rain water, causing
her to take a tumble and drench herself.
Cut to Diana, turned to face Batman. "Why did you bring him back to the city?" she asks.
Batman retrieves his grenade launcher from the miniature armoury in the former co-pilot in the ruined Batwing cockpit. "The port is abandoned," he assures her, standing from the wreckage. "There's a weapon here that can kill it."
Waist-deep into the pool, she peers frantically into the murky depths,
looking left and right in a desperate search for the one thing that could
kill a Kryptonian monster.
Batman steps off the debris, the burning depot in the background.
Superman suddenly lands in front of him.
Standing up straight, he asks, deadly serious,
"Did you find the spear?" Assuming Batman's goal was to
reacquire the spear shows Superman is smarter than he seems.
Batman looks up from the grenade launcher in his hands and responds sarcastically, "Been a little busy."
Wonder Woman looks toward the beast in the distance. "This thing, this creature, seems to feed on energy," she says, prompting Batman and Superman over her shoulder to turn to her.
As we hear Doomsday roar, Batman preps the launcher, loading his final Kryptonite grenade.
Batman looks up from the grenade launcher in his hands and responds sarcastically, "Been a little busy."
Wonder Woman looks toward the beast in the distance. "This thing, this creature, seems to feed on energy," she says, prompting Batman and Superman over her shoulder to turn to her.
As we hear Doomsday roar, Batman preps the launcher, loading his final Kryptonite grenade.
As the two men move to stand beside her, Superman says, "This thing is from another world." He pauses before regretfully saying, "My world." Indeed, once again, Superman's heritage has come back to threaten humanity, and this weighs heavy on him.
Diana, turns from him to unsheathe her ancient Greek sword. She says confidently, "I've killed things from other worlds before."
Superman turns to the Dark Knight and asks, "Is she with you?" Diana kills things from other worlds, as Batman intended to kill Superman, so he naturally assumed they must be in cahoots.
Batman turns to him with a look of confusion. "I thought she was with you?" he asks, presumably having just made that connection, assuming the two super-powered beings must know each other. The humour here gives us a moment to breathe in the pause before the final leg of the film's climactic battle.
Both heroes turn to look at Diana before focusing their attention
on Doomsday. At last, for the first time in live-action cinematic history, Superman,
Batman, and Wonder Woman are on screen together as DC's "Trinity", ready to fight a monster that threatens the
world.
Now comes the money shot. Wide shot of all three characters:
Wonder Woman in the middle, with Superman on the left and Batman
on the right as we push in. @brucewaynebkbf on Instagram pointed out that Wonder Woman sometimes holds
parallels to Lady Justice, who represents the impartial and fair
arbitration of justice and law. In accordance with the film's
title, one might say she is the "v" who represents the ideological
balance of the viewpoints of the two characters, and she is placed
here now to connect the two.
High-angle of the entire port, seeing the blast spread out across the
area and flattening everything, including Wayne Station.
Ground-level rear shot on Batman, following the hapless Dark Knight as he
runs for cover under a slanted slab of concrete, presumably allowing the force of the explosion to travel up the sturdy
angled surface and leave Batman untouched.
Wide side shot of Superman and Wonder Woman (using her shield), both bracing
against the explosion all around them as vehicles and debris fly by.
Wide shot of the port to see the explosion rip apart several buildings across the landscape.
Alerted by the sound of cracking stone and concrete, Lois looks up from
the pool at the ceiling to see the structure of the building get ripped apart by the
explosion.
Lois dives into the water to avoid being flattened, swimming deeper as a
huge slab of wall falls to block her escape. She turns in the murky water to swim
up.
At the bottom of the pool, the Kryptonite spear glows beneath the debris
pinning it down.
Superman and Wonder Woman slide back from the force of the explosion as it
dissipates. Diana's shield glows with heat after the blast. Diana stands up
from her crouched position and lowers her shield.
Cut to flames, in which Doomsday emerges consumed in the fire. He snarls.
Wonder Woman readies herself, unsheathes her sword yet again, and launches
herself forward across the battlefield with a mighty yell, and the battle
begins.
Doomsday leaps at her just as Superman takes flight.
Before anyone can
collide, Doomsday crashes through some debris and stomps the ground with
the force of an earthquake, churning up further debris.
Diana powers
through the cloud of rock with her shield and strikes at the monster's leg
with her blade, but he narrowly avoids her.
Superman flies by, drawing Doomsday's attention upwards.
Taking
advantage, Diana swipes the beast's leg with her shield, tripping him
over backwards, and Superman dives down to shove Doomsday into the ground. A wave of
dust and rubble spreads out from the impact site. Despite having only just
met, Superman and Diana have amazing team synergy.
Wonder Woman leaps up with her sword, bringing it down on Doomsday's stomach before he quickly recovers and stands away, embedding Diana's word in the ground.
Wonder Woman leaps up with her sword, bringing it down on Doomsday's stomach before he quickly recovers and stands away, embedding Diana's word in the ground.
Doomsday punches Superman with a bang as he flies at him.
Diana slices
the monster's leg with her sword, yet again creating hot marks on his
flesh, but Doomsday collapses to a knee and roars in anger.
He throws a car at Wonder Woman, but she cuts clean through it with her sword.
He throws a car at Wonder Woman, but she cuts clean through it with her sword.
Superman tries to get the drop on him, but Doomsday avoids the flying charge,
grabs him by the legs, and swings him 360 degrees, tossing him down some
distance away.
Before the Man of Steel can recover, Doomsday presses his advantage and
kicks him, sending Superman crashing through what feels like a mile of
debris.
Nearby, Batman finally emerges from his hiding spot to spectate this
battle of titans, contrasting him to show us just how utterly outgunned he is here. He never prepared for
anything like this.
He sees Wonder Woman force Doomsday back across the battlefield with
another shockwave from her bracers.
Recovering, the monster backhands a truck at her. She leaps over it,
flying at him.
Doomsday throws a punch, connecting with her indestructible shield
mid-air and she flies back. Then he keeps up the attack with his heat vision. This moment alone demonstrates that Wonder Woman is the MVP of this fight,
keeping the monster distracted when Batman is too helpless and Superman is
stunned.
Wonder Woman's back is forced against some unmoving debris. She glares
before charging at the beast again with unnatural speed and another
banshee's roar.
Cut to the cracks in the concrete slabs preventing Lois' escape from the
pool. She desperately tries to squeeze her head through the gap to take a
breath, but to no avail. She looks out across the environment around her for some solution.
Low-angle on the debris, light shining through the cracks. Escape is so
close, yet so far.
With no recourse, Lois begins hitting the debris, and her screams
are muffled in her aquatic tomb. She places her hopes in the symbol of the
man she loves.
Appropriately, we cut to Superman, flying sternly before igniting his heat vision. As the camera turns toward the direction he is facing, we see his heat vision is now locked with Doomsday's. As we back away, we see the fiery beams from both powerhouses connect in a picturesque yet terrible volcanic inferno.
Appropriately, we cut to Superman, flying sternly before igniting his heat vision. As the camera turns toward the direction he is facing, we see his heat vision is now locked with Doomsday's. As we back away, we see the fiery beams from both powerhouses connect in a picturesque yet terrible volcanic inferno.
Superman shrieks in effort before Doomsday ups the pressure, sending
Superman flying back. As Doomsday's beam pushes him, we see him grimace in
pain before he collides with a pile of debris.
However, Superman is far from done, and he launches into the sky amid a hail of rubble to prepare to retaliate. But before he can, he pauses, and we hear Lois banging on her prison. He whips his head toward the noise and surveys the battlefield.
However, Superman is far from done, and he launches into the sky amid a hail of rubble to prepare to retaliate. But before he can, he pauses, and we hear Lois banging on her prison. He whips his head toward the noise and surveys the battlefield.
Lois continues hitting the concrete, her yells still muffled. Her legs flail
before her eyes roll back into her head.
Turning dramatically, Superman launches away toward the ruins.
Moments later, we see the slab of tiled concrete coming away, revealing
Superman above the shimmering surface. He tosses it aside.
Lois is now unconscious beneath the water. Superman reaches down, grabs
her, and hastily pulls her to the surface. He carries her in his arms, his heroic shield a prominent feature in the frame yet
again.
He kneels to gently place her on the ground, and she suddenly returns to life.
She chokes for a moment. Panting, she turns to look up at Superman and smiles with
relief. She must have held her breath to the point that she knocked herself out,
never succumbing to the urge to take in air.
He caresses her cheek before standing, smiling at her. This is another one of their wordless interactions, again communicating
entirely with emotion.
Then Superman dives into the water himself. Lois hastily crawls to the edge of the pool, looking worried as she
watches him disappear into the darkness.
Meanwhile, Doomsday has finally noticed Batman.
Realising the danger, the Caped Crusader finally moves from his hiding
spot with a quick Bat-claw escape, barely avoiding Doomsday before the
behemoth crashes into the ground where Batman stood a moment ago.
Batman briefly perches himself on a wall, where a sudden flash of
lightning illuminates him in the spitting image of an iconic cover
from The Dark Knight Returns, before grappling away to safety
yet again an instant before Doomsday's heat vision incinerates the
spot.
Batman hits the edge of a roof, and his fall to a fire escape below saves
him from another beam of fire that arcs over him.
Grunting, Batman visibly fights the pain as he throws a smoke grenade and
leaps from the balcony right before Doomsday can crush him.
Doomsday follows, but has lost sight of him in the lead smoke. This
moment with Batman, showing just how utterly outclassed he is here, also
works as a little catharsis for those who wanted to see Superman win their
battle. Now, Batman truly does not stand any chance but to run and
hide.
Behind the Scene: Batman's leap from the fire escape was practical. Stuntman Albert Valladares, doubling for Ben Affleck as Batman, posted these stills performing the leap into the smoke cloud.
Cut to Lois looking into the pool. Silhouetted by the green light from
below, Superman comes into view beneath the water. Lois immediately gets
waist-deep and grabs him, dragging the drenched Man of Steel onto dry land. As usual for their relationship, Superman saves Lois and Lois saves Superman.
- This might be a reference to Superman (1978), where Eve Teschmacher drags Superman out of the water of Lex's swimming and throws away the Kryptonite necklace that previously hung around his neck, which is especially likely because the architecture of both pools looks similar.
- Superman and Lois are both symbolically baptised in water. Calling back to Bruce's mausoleum dream sequence, Superman has assumed the holy position of the angel Gabriel and will slay the Devil:
"And then this is what I was alluding to earlier about the water as rebirth for both of them, essentially, because Superman jumps back in the water to get the spear, which was a weapon of his own destruction, and then he becomes [the Angel] Gabriel and Doomsday becomes the real Satan." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:34:53) - After being soaked in water, a strand of curled hair is visible on Superman's forehead, possibly referencing the character's classic "S" curl from the Christopher Reeve films and some comics.
As Superman lays unconscious, the brightly glowing Kryptonite
spear falls beside him as Lois calls, "Clark!"
Seeing the weapon, Lois grabs the spear steps away from Superman.
She readies the spear like a javelin and launches it away with a
yell of effort.
Lois rushes to his side, exclaiming, "Clark!"
She looks him in the eyes, making sure he is okay. Then she kisses his
cheek and possessively cradles his face, burying her brow against him.
Superman looks ahead at the battle raging to see Diana take another leap
at the monster, struggling to get close enough to deal a deadly blow, and
Doomsday punches her back yet again.
She is tossed some distance through rubble and debris, her sword and
shield knocked from her grasp. However, she is still alive and kicking,
and she flashes a grin, enjoying the intensity of a real fight after a
century.
Behind the Scene: This smirk was Gal Gadot's idea, improvised on the set. She wanted to add some more fire to her character's personality by making her relish in combat.
"Well, you know, you bring yourself to every role, but at the end of the day, it was important for me that she's not gonna be too goody two shoes, you know? I wanted her to have this spice, to be feisty, like the smirk after Doomsday hit me and I'm like, 'Yeah, you're messing with me, alright!' So I wanted her to have this cool attitude." (Gal Gadot, Fox 5, 18 March 2016)
"You know Wonder Woman, she's amazing. I love everything that she represents and everything that she stands for. She's all about love and compassion and truth and justice and equality and she's a whole lot of woman. For me, it was important that people can relate to her. Being all that, I wanted her not to be too, ah, 'goody two shoes.' I wanted her to have this attitude. I wanted her to have a smirk when she fights Doomsday. I didn't want her to be too polished. I wanted to make her a little bit darker, a little bit dirtier. In the sense that, yes, she's still all of these amazing things. But she's been around, she's very experienced and she has her own fight.
I remember after we did that take, Zack came to me and he said, 'Did you just have a smirk?' I said 'Yeah.' And he asked, 'Why? I think I like it, but why?' 'Well if he's gonna mess with her, then she's gonna mess with him. And she knows she’s gonna win.' At the end of the day Wonder Woman is a peace seeker. But when fight arrives, she can fight. She's a warrior and she enjoys the adrenaline of the fight." (Gal Gadot, Los Angeles Times, 24 March 2016)She grabs her sword just before Doomsday approaches, bringing a fist down on her, but she blocks it with the sword against his flesh.
She pulls back, and Doomsday's powerful arm hits the Earth. With this
opportunity, Diana swings her blade to slice his arm off. Roaring in
agony, the damage is enough to begin charging another blast in the
monster. He glows and crackles again with fiery electricity, but before
Diana can jab him with her sword, his heat vision sends her flying back
with a shriek.
Doomsday stares at the stump where his hand used to be. Bony protrusions
grow from the severed flesh, one in the middle forming the longest
spike.
Scene Overview
While Superman regenerates in space from the sun, Batman crashes into
the port, chased by Doomsday, until Diana shows up in her Amazonian
garb to save him, properly introducing Wonder Woman to the audience.
When Superman joins the fight, the Trinity is assembled for the first
time. With the imperilled Lois adding an extra layer of tension and
urgency, the final battle begins.
Scene Analysis
This is the only scene in both this film and Man of Steel where the music implies that the violence is cool instead of questionable. Doomsday is essentially a mindless zombie animal, and it makes a lot of sense that Snyder's condemnation of superhero violence does not carry over to a fight with such a creature. Here, we can revel in the violence because the antagonist is not a person, or questionably even alive. So, here, the cool music wants us to think, "This is awesome!"
Greater musical analysis coming soon.
Behind the Scenes
 |
| "The Trinity filming together for the first time." Clay Enos, Vero, 3 July 2016 |
 |
| "And a gesture was born..." Clay Enos, Vero, 24 March 2018 |
"It was too good of an opportunity to pass up, to have this image of the trinity -- Batman, Superman, and Wonder Woman -- standing together. That had to be in the movie." (Zack Snyder, The Art of the Film, p187)
"Yeah, I'm a big Trinity fan myself. I loved the idea of that moment. It was kind of my whole thing when we were doing BvS that I really wanted to have this moment with the Trinity, and I just thought that if we could get them all to be on camera in one shot, that we really would be on our way to doing something really epic. I just think that the one thing about DC, whether you're a fan or not, those three heroes are the most iconographic superheroes ever and their symbols are worldwide recognizable. They're corporations, they're countries, they're religions of some kind. You know, just to see Superman's 'S', the Wonder Woman eagle, and the Bat, you're literally like, 'Holy shit!' And I think that's really powerful, and I hope they continue their Trinity mission into the future. I hope they come together again soon." (Zack Snyder, DC Cinematic Cast, 9 March 2021, 00:47:34)
The final battle was shot on a green screen soundstage at the late Michigan Motion Picture Studios along
Centerpoint Parkway, Pontiac, Michigan. The digital environment was constructed with 3D renders of the Nicholson Terminal and Dock Company (where the first part of the Batmobile chase was shot) and Michigan Central Station (where the Batman-Superman fight was shot), both in Detroit. However, the layout has been altered slightly, so it is not the same location as Knyazev's warehouse.
Zack Snyder felt it was
absolutely necessary to introduce Wonder Woman here to assemble the
"Trinity" for the first time. According to IndieWire, this fight was originally going to be a single giant shot, but it
was determined this would make it difficult to enact editorial
changes. In interviews with Art of VFX, fxguide, and, 3dtotal, VFX supervisor Guillaume Rocheron of MPC explained the
technical process of creating the environments and animating the
digital doubles. The transformed environment after the blasts given
off by Doomsday were also inspired by dry lava fields in Hawaii.
Photos of the set were posted by Zack Snyder [1/2], Gal Gadot [1/2/3], and set photographer Clay Enos [1/2/3].
"We made it with normal cuts... with Wonder Woman leading the charge. We changed stunt poses late in the game but had the world figured out. It became Wonder Woman-centric. You want to see her combat in a slow, intimate way. She's enjoying cutting lose on this thing. She's had down time for 100 years." (John DesJardin, IndieWire, 24 March 2016)
"Another good reason to consider sound design and music early on has to with extended action scenes. As you get deep into the last act of a long film like this, you have to do everything you can do avoid bombarding the audience and shutting them down before the film's over. A good trick is to pick a point late in the 3rd act to let the sound effects play underneath strong melodic score. The sequence will seem different now, fresh. Hans Zimmer really went for this in the 3rd act, saving the big action melodies as long as he could. We created a montage-y action beat late into the sequence, where Superman and Wonder Woman are fighting Doomsday. The style of this lent to a mix where hard sound effects went into the background, with reverb, as well as the war cries of Wonder Woman. Actually this action beat was reconceived by Zack late in the game, so that the camera was more with our heroes than in the original previs." (David Brenner, ProVideo Coalition, 10 April 2016)
"One of the biggest challenges for me was when we got to the end fight with Doomsday. We were approaching when that section was supposed to be done and I went back to Zack and said, 'I don't think you love this. I don't think I'll ever love it so let's tear it down again and go back in with Damon. Let's not change the fight choreography but change the camera. Let's make it more like the Snow Speeders versus the AT-AT Walkers in The Empire Strikes Back.' It became one of my favourite parts of the sequence and I'm so glad we weren't so precious with that initial idea." (John "DJ" DesJardin, 3D World, May 2016, p50)
|
| Concept art by Christian Lorenz Scheurer |
The flooded stairwell was shot in an underwater green screen
constructed at the late Michigan Motion Picture Studios along
Centerpoint Parkway, Pontiac, Michigan. Filming was done
with Dorsalfin Productions' underwater director of cinematography, Ian Seabrook, a professional underwater cameraman, whose demo reel can be
seen here, and
you can find interviews with him from Underwater Podcast and Dive Photo Guide. On 17 August 2014, Seabrook posted this photo to his Instagram of what resembles the set with the BvS
hashtag, so the sequence was likely filmed around that time.
"They had a great team that really made me feel safe, but it was definitely claustrophobic. I was under the water and trapped, and playing that was something I hadn't anticipated, emotionally. It was intense, until I accepted that I wasn't actually drowning. We were a team of six people -- the divers, the stunt woman, the cameraman -- and we all went down together, which was very comforting. It became strangely meditative and relaxing. Except I got really bad swimmer's ear; that was my war wound! Everyone else had to work so hard that I felt the least I could do was get down there and not complain." (Amy Adams, Press Release, March 2016)
Zack Snyder mentioned during the BvS Watch Party that the idea for the flooded
stairwell came from a flooded area they found at Michigan Central
Station. He later confirmed in the director's commentary (2:15:16) that
the pool was built on a soundstage at the late Michigan Motion Picture
Studios, Pontiac, Michigan. The sequence was shot in June or July 2014
when the crew were filming in Pontiac. Concept art by Christian Lorenz
Scheurer (above right) indicates an earlier concept had Batman keep the
Kryptonite spear in the Batwing, which would crash in a Gotham canal
where Superman would later retrieve it from the drowned vehicle.
The Death of Superman
You Are My World
Superman and Lois, watch the spectacle. Lois has her arms around the man
she loves, cradling his face protectively. They both turn to each other.
Softly, Superman says to her, "I love you."
Rear shot on the two, focus on Doomsday in the distance ahead of them, enveloped in orange lightning as he roars. He stands on a mound of debris, the centrepiece of this climactic resolution. This serves as a reminder that he is about to explode yet again, growing even stronger. Lois turns to watch.
Rear shot on the two, focus on Doomsday in the distance ahead of them, enveloped in orange lightning as he roars. He stands on a mound of debris, the centrepiece of this climactic resolution. This serves as a reminder that he is about to explode yet again, growing even stronger. Lois turns to watch.
Superman is still looking at her when she turns back to him. Afraid for his life, she pleads,
"No. No, Clark, you can't."
Then Superman turns to look at Doomsday as Lois tries to turn his face
back to her. Looking content, he says calmly,
"This is my world." This subverts his previous line, "[This
symbol meant something] on my world. My world doesn't exist anymore." Now,
his symbol once again represents, as Jor-El said, "a fundamental belief in
the potential of every person to be a force for good," including
Batman.
Afraid she will never see him again, Lois shakes her head and begs, "No, Clark, don't!"
Of his own volition, he finally turns to look Lois in the eyes. Smiling at her, he warmly says, "You are my world." These minimalist final words maximise the emotional impact with their brevity, embodying Superman's unwavering love and appreciation for Lois in just one small and thematically poignant goodbye. Several other things are happening...
Afraid she will never see him again, Lois shakes her head and begs, "No, Clark, don't!"
Of his own volition, he finally turns to look Lois in the eyes. Smiling at her, he warmly says, "You are my world." These minimalist final words maximise the emotional impact with their brevity, embodying Superman's unwavering love and appreciation for Lois in just one small and thematically poignant goodbye. Several other things are happening...
- He is echoing Jonathan Kent's words from the mountain. When Clark asked if his nightmares and feelings of guilt ever subsided, the ghost of Jonathan replied, "Yeah, when I met your mother. She gave me faith that there's good in this world. She was my world." So too does Lois give such faith to Clark, subverting his earlier words of despair, "No one stays good in this world."
- This might also be a callback to Man of Steel, where young Clark said, "The world's too big, Mum!" and Martha responded, "Then make it smaller," and now his world is embodied in one person.
- This foreshadows the Knightmare, realising the context for Superman proclaiming, "She was my world," before executing Batman, which reinforces that the vision was real.
Then he turns away and his smile is gone. He looks ahead, eyes full of
determination. Then he begins to leave her firm grip. Recall the bathroom scene. Both Lois and Clark are soaked in water and
occupy the same sides of the screen. Back then, Lois held him possessively.
Here, she is still holding him as firmly as possible, figuratively and
literally, and now she is about to lose him.
"Please! Clark!" she shouts as Superman escapes her grip and
takes flight. From here on, Lois never speaks a single word again for the
rest of the film. Everything she does is entirely through Amy Adams'
acting and Lois' actions, rather than her words. There is nothing more she
needs to say -- nothing more she can say.
This whole sequence is another reference to The Death of Superman, where he spends a brief heartfelt moment with Lois, saying he loves her
while she begs him not to risk his life further before he charges in to
finish his fight with Doomsday.
Superman flies low against the ground as we hear Doomsday roar.
Then he snatches the Kryptonite spear as he flies over in the
direction of his foe.
Exerting dramatically as his body glows with energy and
lightning, Doomsday is suddenly entrapped by Wonder Woman's
glowing golden lasso, pinning his arms to his sides. Diana's feet
are on a slab of debris as she pulls back on the lasso to tighten
her grip. A shoulder shot from Wonder Woman shows us the scale of
Doomsday to emphasise her feat of strength.
The beast roars down at her savagely before a green gas cloud
suddenly explodes in his face, instantly terminating the orange
spectacle as the lightning vanishes while Doomsday becomes drowsy
and passive. Pan left and zoom rapidly through the charred
battlefield to Batman, aiming his grenade launcher from his hiding
place place a broken wall. He lowers the weapon, panting.
Superman gains speed, holding the Kryptonite spear tip ahead of
him. His expression indicates strain, telling us that proximity to
the Kryptonite is either causing him pain, making it difficult to
fly, or both. The all-consuming lens flare created by the green
spear emphasises this effect.
Shoulder shot from Doomsday. Superman rockets towards him from
across the battlefield.
Shoulder shot from Superman, spear at the ready as he approaches the
beast.
Then Superman plunges the spear into his chest. Immediately, the
creature returns to life in a renewed blast of energy, glowing hot
and emitting lightning once again, but this time, streams of green
energy are interspersed with the streams of orange energy across his
body. He roars to the heavens in agony.
Wonder Woman yells in strain as she pulls on the lasso when the slab
of concrete collapses beneath her, allowing Doomsday to shake off
the lasso and grab Superman in his enormous left hand, yet the hero
maintains his grip on the spear lodged in the monster's chest.
Doomsday raises the spike protruding from the stump on his right
arm, bathed in lightning, before plunging it down into the noble symbol on Superman's chest, through his heart.
Recall that, while regenerating in space, the shield was brighter
than in any other shot, but here, the destruction of the shield
will guarantee Superman's death, adding visual weight to
distinguish this from the fake-out nuking. He throws his arm free arm wide as he shrieks in pain.
Then Superman looks down at the spike in his chest. Utterly dwarfed Superman by the scale of the creature killing him
and helpless to escape, he grabs the spike in his heart to try and
remove it. His expression shows absolute agony as he groans with
effort.
Long shot of the scene, showing the dramatic image of Doomsday
looming over the doomed Superman amid the chaotic environment of
lightning and rubble levitating around the two foes -- an external
glimpse of the Biblical spectacle taking place.
Suddenly, despite the fatal blow, Superman's expression changes
from agony to determination, and he grabs another spike on
Doomsday's left arm. Grimacing in pain and grunting with the
unparalleled feat of endurance, he uses it for leverage to force the
spear deeper into the monster, allowing the spike in his own heart
to go deeper. This feat, summoning the strength to slay an
undead monster despite the mortal wound in his chest, is a truly
inspirational act of willpower that embodies the meaning of the
character.
This moment was foreshadowed from the very first scene. This moment
is a direct reference to Excalibur (1981), where
King Arthur impales himself further on Mordred's spear to get close
enough to impale Mordred on the titular sword. Zack Snyder also
added this parallel to his 2007 cinematic adaptation of Frank
Miller's comic 300 (1998), where Captain Artemis
impales himself further on the spear of a Persian soldier to get
close enough to strike a blow.
The spear goes deeper as Superman unleashing a roar of effort. Then the emerald spear tip breaks out from Doomsday's back.
Then two massive beams of energy erupt from Doomsday -- one beam of heat vision
from his face and two green beams firing out his back and front from the
spear in his chest, presumably an expulsion of all his energy. This is
accompanied by a scream from Superman, the same scream after killing Zod
in Man of Steel. This, combined with the remix of the same music from that scene, along
with the mirrored stabbing, implies that this is akin to a punishment and
redemption for Superman. He took Zod's life to save humanity, and now he
has given his own. It also implies that killing Zod was as painful as dying himself. This is
the scream that will awaken the Mother Boxes.
"And then if you really want to wake up a Mother Box, you do it like this. Watch, there's a wide shot coming up. ... You hear [Superman's] scream echo in that shot right there, and that sound goes out into the world, echoes across the globe, and if there were sleeping Mother Boxes on Earth, that sound would wake them up. No Kryptonians here." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
After the beams subside, the monster falls to his knees before
collapsing dead on his back, Superman still in his giant hand.
Ground-level shot pushing on Superman. His eyes are open, but cold and
lifeless. There is a very prominent cavity in Superman's chest. Lex has made good
on his promise to show the world the "holes in the holy." Superman is
dead.
Our Hero
Ascending top-down shot of Batman, stepping around Doomsday to the body
of Superman. He looks down at the fallen hero. @boomborks on Twitter pointed out that, from Batman's perspective, he is
looking down at Superman as he would if he had gone through with killing
him: Superman on his back, a hole in his chest, and Batman standing over
him. This shot almost perfectly resembles the cover for Adventures of Superman #498, following the death of Superman. Then Batman crouches. Wonder Woman approaches below the elevated slab of
debris.
Lois rushes through the rubble across the battlefield. She comes to a
stop and watches, panting.
Diana turns to look at Lois with a sorrowful expression.
As she realises what has happened, Lois' face is quickly filled with
hopeless grief and tears as her chest heaves with each tearful
breath.
Batman folds Superman's cold hands together over his chest and wraps
the slain hero in his red cape.
Batman carefully passes Superman -- eyes now closed -- down to Wonder
Woman and Lois. The grieving journalist tearfully grasps randomly at the body as Diana lowers him to the ground.
Lois cushions his head against the concrete below, into her lap.
She looks him over, crying uncontrollably. Superman looks peaceful as
she cradles his face, then leans down to kiss his cheek, eyes tightly
closed in grief. Then she looks up.
Wonder Woman looks down at the couple remorsefully. She is deeply
familiar with loss too, and can no doubt relate to Lois' feelings.
Lois looks back down at Clark. She puts her face against his and breaks
down completely, squeezing her eyes shut.
Cut to Batman stepping out from under some rubble. Behind him is fire, climbing out of the inferno and stepping into the light piercing through the cloud of smoke from above as he arrives in a medium low-angle shot, looking down on the tragedy. This is a symbolic representation that he has completed his arc and escaped from the rage that once consumed him. It was not the Batman persona that saved Bruce from the dark, but Superman that took him to the light. On Vero, Snyder described this as his favourite shot in the film...
"At the end of BvS before the Pietà , Batman comes forward through some rubble and he looks like the weight of the world is on his shoulders, but steady and transformed by sacrifice." (Zack Snyder, Vero, 31 May 2018)
Wide shot of the scene. Batman (left) and Wonder Woman (right) stand
over Lois cradling the body of Superman (centre), and we pull out to
finalise the scene. This shot might also echo the scene from Man of Steel where Kal-El is born. Batman and Wonder Woman stand in place of
the robots Kelex and Kelor or Jor-El and Lara, and an almost identical
beam of light shines down from the upper left. Kal-El's birth mirrors
his death, just as Superman's birth (his scream of anguish after
killing Zod) is mirrored by his death scream.
The imagery here resembles a Pietà , artistic renditions of the Virgin Mary cradling the body of Christ
after he is removed from the cross. Wikipedia has a gallery of different old paintings and images depicting
this.
Three more steel beams in the upper left background resembling
crosses are visible, silhouetted by fire, and each with crows sitting
upon them -- also a symbol of death. All the imagery here is the death motif turned to eleven, accompanying
the literal death of Superman. The crosses are subtly foreshadowing the
mortality of the three heroes.
"To me, the three crosses represent the Trinity. It was my plan to kill them all, regardless of if they'd stay dead, but that was the idea. The three, Batman, Superman, and Wonder Woman, none of them were safe." (Zack Snyder, LexCorp, 11 July 2021)
Fade to black.
Scene Overview
After saving Lois and retrieving the spear, Superman has a heartfelt
final moment with her wrapping up his arc by embodying in Lois the
meaning of the symbol on his chest. Then, with help from Batman and
Wonder Woman, he drives the Kryptonite spear into Doomsday at the
expense of his own life, saving a world that hates and fears him. A
moment of silence descends on the film.
Scene Analysis
Superman's Arc - Restoring His World
The symbol on Superman's chest embodies the fundamental belief in the potential of
every person to be a force for good. That is what he stands for. After the
Capitol bombing, seeing what humanity is capable of, Clark lost faith in
that ideal. The world did not corroborate the practical concept of
Superman's values: "[This symbol meant something] on my world. My world
doesn't exist anymore," meaning the world he thought he knew was a lie, and
the sad truth was revealed.
Exiling himself from humanity, Clark turned to nature, where he learned
his father's despair was healed by Martha: "She gave me faith that there's good in this world. She was my world."
Motivated by the person who gives him faith, Lois Lane, he returns to
Metropolis and falls into Lex's trap. Instructed to kill Batman to save
Martha, Jonathan's message acquires a caveat: "No one stays good in this world." He needed to see the truth of
the lesson.
Believing Batman can only understand force, Superman gave up on reason and
resorted to violence -- a futile move. Then, at his lowest point, Lois
came to his rescue, and the man who sought to kill him was suddenly
promising to save his imperilled mother, learning first-hand that everyone
truly can be a force for good. Because of this, Lois can once again give
him faith that there is good in this world because he has seen it happen.
Now, motivated by hatred and fear, humanity has grown a monster to kill
him, but Superman is steady. Empowered by his restored faith, he takes the
spear intended for him and saves humanity from itself -- a symbolic
gesture to reaffirm and honour his belief in the ideal on his chest
represented by people like Lois Lane. Rather than risking the life of
another, he took it upon himself to kill Doomsday and died to save an
ideal, giving his life because he believes there is good in the world.
Superman's Arc - Humanity
One thing Superman has never truly faced is mortality. Until the age of
33, he had never known what it feels like to fear for his life. Making the
ultimate sacrifice is the greatest step he can take to achieve his ideal
form. His eventual resurrection will change him, making him a better man than ever before.
"And I thought that, for his evolution as a character, there's a crucible that he has to go through to really embrace his humanity, or find, like, what is the ultimate thing about being human? Well, the ultimate thing you face is your mortality." (Zack Snyder, Collider, 27 March 2016)
Superman's Arc - Paying for Collateral Damage
After all the criticism of collateral damage in Man of Steel, here he gives his own life to save the world instead of taking a
man's. The threat of Doomsday's next explosion gives urgency to the need to
slay him. Superman's sacrifice is a refusal to allow the monster's
destruction to continue.
"The ending of BvS was designed to show that Superman was willing to make himself collateral damage if it meant saving others. I felt like we had to kill Superman in this movie in order for us to have been serious with the entire premise of the film." (Zack Snyder, Entertainment Weekly, 26 March 2016)
Superman's Arc - Paying for Killing Zod
"Where we had thought to slay another, we shall slay ourselves." (Joseph Campbell, The Hero with a Thousand Faces, 1949, p18)Superman can be seen as paying for his sin, which can be seen in parallels to Man of Steel. Superman's dying scream resembles his agonised shriek after killing Zod, both villains died shooting their heat vision, and the music reprises If You Love These People, tying the two scenes together through the score. Doomsday kills Superman in a manner similar to Zod's killing of Jor-El, impaling him with his right arm, after which Lois cradling his body resembles Lara cradling Jor-El's body. Zod killed Jor-El, so Superman killed Zod, so Doomsday (Zod) killed Superman. Just as Bruce said in Russian earlier, "But all accounts are balanced in the end."
Again, as Jor-El said, "Embodied within that hope is the fundamental belief
in the potential of every person to be a force for good." Superman's failure
was he could not find this faith in Zod. This time, he gave his own life
before giving up on that idea again.
Tragedy
Superman was not someone who held himself above humanity as many
assumed. He hitchhiked, rode a bicycle to work, took a ferry across
the bay and a bus around Gotham, and hiked. He
was humble and showed respect to humanity's systems, landing beyond
the steps of the Capitol and climbing them like any normal man. He
bought groceries, liked to surprise his girlfriend, and spoke to his
mother when he felt down or needed advice. Without any thought to his
own grandiosity, he interacted with the world as Clark Kent to
understand and help those who were wronged or afraid. The tragedy of
Superman's death is compounded by these traits that emphasised his
innocence and humanity.
In Man of Steel, Lara feared that humanity would make
Kal-El an outcast and kill him. Jor-El was more optimistic, believing,
"He'll be a god to them." In the end, humanity rejected Superman and a
human orchestrated his death, later remarking, "Ding dong, the god is
dead." Lara's worst fears were realised.
Batman's Arc - Renewed Faith
Totally devoid of trust in humanity's potential for good, Batman
spent most of the film seeking to kill an alien. After learning
Superman's humanity, Batman witnessed the man he sought to kill
taking the spear intended for him and using it to save the world at
the cost of his own life. The alien he sought to destroy was a good
man, right up until his death at the hands of the real monster.
Superman was always the true hero defeating evil, leaving Batman in
a position of the utmost guilt and regret. As Batman said, "Men are brave," and Superman has proven himself brave. His sacrifice
becomes the greatest example that good men still exist. Literally and metaphorically, Batman steps out
from the fires of his rage, humbled as he enters back into the
light.
A typical revenge tragedy sets the vengeful one up to die as penance
for their wrath. Instead, Superman has taken Batman's place, giving
his life so no one else has to. Had Batman gone through with his
dark intentions, he would not be alive right now. Bruce owes it to
him for this opportunity to redeem himself. After this scene, Bruce
will affirm this commitment to making amends.
Wonder Woman's Return
Drawn into battle by a threat she could not afford to ignore, Wonder Woman has finally returned to the world of men after a hundred years. Having believed before that men created a world where standing together is impossible, she has now fought beside them to slay a monster. The scene concludes with Wonder Woman standing over the body of yet
another man who gave his life for humanity. He sees her grief for
Steve Trevor in the tears down Lois Lane's face.
Execution
The death of a major character should serve either the story or the
character(s) in some way, but preferably both. If not, then it is
just lazy storytelling for shock value and cheap emotional
manipulation. The death of Superman in BvS perfectly serves both the
plot and the characters, including Superman himself, and has all the
ingredients of a good death scene.
- Meaningful Death: Superman did not die randomly or for nothing. He saved the world before, but now he saves it again at the cost of his own life. His last act concludes his story by dying for the belief that every person can be a force for good, affirming his commitment to his values.
- Final Interaction: He had a final moment with Lois to speak words finalising his arc and adding an additional emotional ingredient with an indirect goodbye.
- Reactions: After his death, he is surrounded by those he has impacted: Lois, the woman who loves him; Batman, the humbled man whose soul he saved with his humanity and sacrifice; Wonder Woman, who can understand exactly how Lois feels. After this scene, even the world itself has a profound reaction to Superman's death.
- Narrative Consequences: With Superman's death, the ancient Mother Boxes have reawakened, summoning the forces of Darkseid to Earth. Without Superman, the world feels vulnerable, and Batman is burdened with the difficult task of assembling a team of meta-humans who can defend the Earth in his stead.
- Character Consequences: Superman's sacrifice has inspired Batman to become a better man. As an example of man's capacity for heroism, Wonder Woman has glimpsed a better world that she can fight for. Interestingly, Superman, Batman, and Wonder Woman share a similar journey of rediscovering their faith in humanity.
Christian Symbolism
"And there you can see the crosses. It's pretty straightforward as far as reference goes. I mean, it's not really that cryptic. It's pretty on-the-nose. The fact that this movie came out around Easter is pretty obvious. And, by the way, not to say that it's all exclusively Christian. I use Christian metaphor because I think it's universal in its sort of Joseph Campbellian iconographic imagery that we are programmed with in pop culture, beyond religion. Therefore, we all have it in our collective memory banks, these kinds of images." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
The spear designed to kill Superman (Christ) was submerged (baptised) in water. After retrieving the spear (his own baptism), Superman then uses it to slay Doomsday (the
Devil). BvS was released on 25 March 2016, Good Friday, the day of Christ's
death. So Superman's death was foreshadowed even by its release
date.
Knightmare Connection
“The hero of yesterday becomes the tyrant of tomorrow, unless he crucifies himself today.” (Joseph Campbell, The Hero With a Thousand Faces, 1949)
This scene might be a parallel to the Knightmare. There, Batman is the messianic figure who dies from impalement through the chest. At the end of this film, it is Superman who sacrifices his life with impalement through the chest, becoming the final messianic figure of the film and seemingly subverting the future dystopia.
Soundtrack
Musical analysis coming soon.
Behind the Scene
The final battle was shot on a green screen soundstage at the late Michigan Motion Picture Studios along Centerpoint Parkway, Pontiac, Michigan. The scene was shot in June or July 2014 when the crew were filming in
Pontiac. In crafting the narrative, Zack Snyder's friend Christopher Nolan
played devil's advocate on why the death of Superman was not a good
idea, but Snyder convinced him, arguing that his absence would make
assembling the Justice League a more challenging task for someone like
Bruce Wayne. In other concepts, Superman's absence involved him being
thrown into the depths of space, presumably after the nuclear missile
sequence.
"I wanted Bruce Wayne to build the Justice League. ... I felt like with Superman around, it’s a different conversation when you create the Justice League, right? It’s like, ‘Me and Superman, we want to make a Justice League.’ [Other heroes would be] like, ‘Okay, yeah, I’ll join!’ I just feel like Bruce Wayne having to go out and find these seven samurai by himself, that’s a lot more interesting of a premise. ... I also felt like, without Superman, there is definitely a vulnerability to the team that they’re gonna need to figure something out, you know? Superman does represent the powerful. He’s the Michael Jordan of heroes, he’s gonna score." (Zack Snyder, Entertainment Weekly, 26 March 2016)
"It was pretty early, and Nolan and I had a long conversation about it, a really great philosophical conversation about it, and he was really cool because he played an amazing devil's advocate about why not to do it, and in the end, was like, 'No, you're right, it's better to do it,' because we had a version we talked about where he got frozen and shot into space or something where he's gone, because one of the big things I wanted to make sure of, when we went into Justice League, was that Bruce Wayne was the one who was gathering the Justice League. Thought it was really important to have Bruce Wayne be the samurai who goes and finds the other samurai, right? That, to me, was important, and with Superman around, it's kind of hard for Bruce to like, 'Yeah, I want to put a Justice League together!' Okay, but, maybe Superman should be doing that? Because you're a cool guy, but you're just a guy." (Zack Snyder, Collider, 27 March 2016)
"It was pretty much right away, and I'll tell you why. It was when we decided to go toward the Justice League. When we knew we were going to do a Justice League movie at the end of this, which was pretty early on, I said we have to kill Superman because Bruce Wayne has to be the one that puts the Justice League together, and with Superman around it's going to be difficult, and there's going to be this urgency to form the Justice League. It's going to be difficult to muster with Superman around, even if he opposes them, or whatever. I just felt like it would be a cleaner, interesting world to have Bruce, in his panic, have to figure out how to put this team together." (Zack Snyder, Empire Film Podcast, 30 March 2016, 00:11:46)
Communion
Cut to a hole in a dark ceiling, light pouring through. The same
entrance Superman made when he flew into the Kryptonian scout ship to
confront Lex. Two masked SWAT officers descend on a line, and we pan
down to see them join their comrades in the foreground, a team of
troops assembled in the ominous halls of the ship, aiming the
flashlights mounted to their M4A1 Carbines. This method of entrance confirms that Lex naturally had the scout
ship locked down, preventing anyone from being able to enter while he
was cooking Doomsday.
The team leader crouching at the head of the group signals his men to
advance. He stands and moves as his troops follow close behind him, scurrying
down the moody hallway. The rear soldier turns to aim his weapon down
the other direction, covering their flank. A noise can be heard nearby, resembling static, and if you listen carefully, a distorted voice mutters the name, "Lex
Luthor".
Above the Genesis Chamber, the soldiers enter to assemble and aim their
weapons into the space below. We approach between them, and floating above
the chamber is a series of chrome spheres orbiting around a central
sphere, presumably our solar system.
Finally, we descend to see what the soldiers see. Standing in the goo at
the base of the chamber is a huge devil-like monster layered in
razor-sharp shards. Like the spheres above, he is chrome. He holds a cube
in each hand, with one levitating above the liquid in front of him. A
single red laser sight is trained on the demon's head. Below it, hands
raised as if in prayer, is Lex Luthor, shoulder-deep in the liquid, with
several sights trained on the back of his skull.
In a bellowing rumble, the creature lets out a threatening growl to the
ceiling. Then it breaks down into the countless molecules of the liquid
geometry that defines Kryptonian communication technology, spreading
outward to leave the frame like smoke. The monster is gone.
His suit coated in the viscous Doomsday afterbirth showing he must clearly be in some unusual mental state, Lex blinks for a moment before shuddering, as if suddenly awakening from a trance with a start. Shaking, he turns his head to look up at the soldiers, whose laser sights continue flying over his back. Still shaking, he looks surprised.
This has been our very first introduction to Steppenwolf, a minion of Darkseid and the primary antagonist of Zack Snyder's Justice League. In going from Superman's death to this, since Kryptonian communication technology is an accurate 3D representation of the speaker, we know this monstrous entity is out there somewhere in the cosmos and will soon be coming for us, creating instant feelings of discomfort with Superman gone.
His suit coated in the viscous Doomsday afterbirth showing he must clearly be in some unusual mental state, Lex blinks for a moment before shuddering, as if suddenly awakening from a trance with a start. Shaking, he turns his head to look up at the soldiers, whose laser sights continue flying over his back. Still shaking, he looks surprised.
Scene Overview
In the aftermath, a SWAT team descends into the Kryptonian scout
ship, discovering Lex in communion with a monstrous demonic alien. Lex
is arrested following the encounter.
Scene Analysis
This has been our very first introduction to Steppenwolf, a minion of Darkseid and the primary antagonist of Zack Snyder's Justice League. In going from Superman's death to this, since Kryptonian communication technology is an accurate 3D representation of the speaker, we know this monstrous entity is out there somewhere in the cosmos and will soon be coming for us, creating instant feelings of discomfort with Superman gone.
Lex evidently communicated with Steppenwolf. Their conversation remains
unknown, but Zack Snyder confirmed that, "Lex is now part of the plan, I would say, in some way," and
that Lex was enlisted to help Darkseid one day fulfil his scheme...
"The implication is that Steppenwolf has told [Lex] that he serves something greater in Darkseid. So, Darkseid, even at this point, he doesn't know that the Anti-Life Equation is here, but he does know that the Mother Boxes are here and that this planet is ripe for conquest." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
"Lex was communing with [Steppenwolf]. You're not going to see it in [Zack Snyder's] Justice League, but in the stories that follow, Lex would have made a deal with Darkseid. Then, of course, he would have remained on his trajectory, and this was just the first sign that he had made a deal with Steppenwolf, and then later he would have been the one who finds the Anti-Life Equation and/or deciphers it using the Riddler." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:41:47)
Musical analysis coming soon.
Behind the Scene
This scene first appeared on the official Warner Bros Pictures YouTube channel on 28 March
2016, just a few days after the release of the theatrical cut. Early on,
Snyder considered making it an after-credits scene, but this idea was
dropped due to wanting to differentiate from the MCU...
"You know, that scene I guess was our way of -- I kind of thought like, 'Oh, that would be a cool after-credits sequence.' But then I was like, 'I don't know, can I do that?' Because Marvel kind of does that. 'Is that a thing?' So we were like, 'Oh! Well, maybe there's another way to do it, by just having it --' Does that make sense?" (Zack Snyder, Collider, 29 June 2016)
The creature was designed by concept artist Jerad S Marantz, who
posted
concept art
and
the model used
for Batman v Superman. This design for Steppenwolf was scrapped early on in development for Justice League, likely due to being
"deemed too scary" like
the method
by which humans were turned into Parademons as outlined in Victor
Martinex' concept art for Justice League. The design resurfaced
with an updated look in Zack Snyder's Justice League.
The original scout ship interior set was demolished after Man of Steel filming, so a new set was constructed at the late Michigan
Motion Picture Studios along Centerpoint Parkway, Pontiac, Michigan. The sequences here
were shot in June or July 2014 when the crew were filming in
Pontiac.
Funeral for a Friend
Ground-level shot on Lex's feet, chained together, now wearing an
orange prison jumpsuit. The buzzing of an electric razor can be heard. A strand of red hair
lands on his foot.
Medium shot on Lex, the prison barber shaving away the long hair on
his scalp. He stares ahead at us, shaking. However, he shows only a stern, cold, and certainly evil glare. Blurred in the background, another man washes two half-naked
prisoners with a hose.
Another medium shot on Lex, this time with a white towel over his
bowed head. The barber removes the cloth, revealing his hairless
scalp. His hair will not be growing back. Slowly, he turns his head up
to face us yet again, no longer shaking, his transformation complete. This coincides with his villainous deeds now being public knowledge -- his metaphorical mask comes away to reveal the true villainous face of the iconic Lex Luthor. The two prison guards in the background now approach and lift him to
his feet to reveal he is thoroughly chained up. His ID tag is
16-TK-421, a Star Wars (1977) reference to one of the Stormtroopers
impersonated by Han and Luke aboard the Death Star.
"When you see the movie, you'll see it's the greatest scene that I've ever gotten to take part in -- it accounts for the change in hair." (Jesse Eisenberg, Los Angeles Times, 8 January 2016)
Cut to a printing machine at a printing press. There is no sound. Pan
left and move down the row of machines to see Perry watching them
work. We approach him as he walks over to the conveyor to retrieve a
fresh new paper. On the back is an article titled, "Batman Befriends Superman Near
End." Perry turns, and we close to a shoulder shot on the front page,
dominated by the headline...
SUPERMAN DEAD
NIGHT OF TERROR MORNING OF LOSS
The article is written by Lois Lane. The accompanying image is the Superman shield that can be found engraved on the ground beneath the Superman statue. The headline is a likely a reference to a page from Action Comics #685, which takes place in the aftermath of Superman's death. Then Perry turns the page.
The first article on the page is for Clark Kent written by Deborah Jurvis (the film's art department coordinator). The photo was taken by Clay Enos (the film's set photographer and a close friend of Zack Snyder). Here is the article...
Daily Planet Reporter Clark Kent Killed Reporting Gotham Battle
One Of Our Own Clark Kent Will Be Missed
Clark Kent was one of our own, and he will be sorely missed. Clark was one of two reporters who stayed in Gotham to cover the Battle that raged over the skies of both Metropolis and Gotham, and eventually would claim the life of not only Mr. Kent, but of Superman as well. The exact circumstances of his death are still coming to light, but we do know that he was killed doing what he loved. Clark Kent was born in Kansas in 1980, and came to Metropolis only two years ago. On the recommendation of fellow reporter and friend Lois Lane, he was hired to the Daily Planet as a junior reporter and quickly rose through the ranks. His insights and investigative skills were immediately apparent, he was assigned to follow bigger and bigger stories for The Daily Planet, and broke several of his own. His capacity for getting to the essence and truth of a story was rewarded last year when he received the Elliot Prize for Investigative Journalism for the second time. This was a first for any of the reporters on staff at The Daily Planet. He worked tirelessly to make sure that his reporting was not only in-depth, but that it was able to connect to the common man. He was thorough and dogged in his pursuit of any story he was reporting. From the smaller human interest stories to the larger news of national interest, his grace, style and never ending charm will be sorely missed. Clark was an only child and is survived by his mother Martha Kent. He will be buried in a small private ceremony outside Smallville, Kansas on the family farm.After that, the text simply repeats itself. Perry taking the time to focus on this page also hints as his own sorrow towards the death of the principled journalist. This ties into the proceeding funeral sequences, where Perry shows up at the wake up the Kent farm.
To the right is another article that takes up most of the page, written
by Gavin Evans (fictional). Special thanks to rizahmad on Tumblr for transcribing the full article as best they could, but take note that
many sections are offscreen or too difficult to read, so some bits are
missing...
LEX LUTHOR Arrested In Connection With Capitol Bombing
The arrest of Mr. Alexander Joseph Luthor yesterday has shed new light on recent investigations into the bombing of the Capitol Building in Washington, D.C.. Luthor, who is currently being held without bail at the Belle Reve Penitentiary Prison, has proved uncooperative when questioned by authorities according to our sources. Mr. Luthor has been arraigned on 36 Federal Charges. Federal and local law enforcement believe this number will rise as the investigation expands. Court ordered search warrants were issued to Lex Luthor and the Board of Directors of his multi-billion dollar franchise, Lexcorp. Giving the FBI widespread access to his private residence, Corporate offices, and Lexcorp Research Labs. Forensics has already linked a proprietary metallurgical compound specific to an undisclosed project developed by LexCorp with the attack. According to sources close to the FBI, a particulate found in LexCorp Research Labs during the search matches the wheelchair at the crime scene, it is evident that a wheelchair made from this material was used as the vehicle to transport the bomb into the building, undetected by the Capitol’s stringent security measures. It appears that a sophisticated plot devised and executed by Mr. Luthor to discredit Superman was the foundation of this subversive and deadly attack. The bombing at the Captiol has taken the lives of 12 senators including Senator June Finch of Kentucky and produced another 57 casualties, among those, some of the most respected members of the public and press. Senator Finch had called the widely publicized hearing to assess Superman’s involvement in the recent massacre in Nairobi, which killed sixty men, women and children and injured dozens more in Mali. Investigations into LexCorp’s involvement in this incident are currently underway. False claims that Superman’s influence in the region caused this collateral damage have since been dismissed too little, to late for our city’s hero. Superman’s fight for what is good in the world had come under scrutiny since the bombing. Many believed that he had become a vigilante, spurring protests across the city and nationally.
Congress had summoned Superman to appear before a congressional subcommittee. The subcommittee, chaired by Senator Finch, had convened to ask him about his…
...particularly during the alien attack over Metropolis. The list of his heroics grew every day. However, some felt that an unchecked power as great as Superman undermines the US government in its abilities to conduct the business of the people both at home and abroad. ...
... This in hindsight seems petty and near-sighted given the ultimate sacrifice paid by Superman. Lex Luthor will surely be judged in history for his part in the downfall of one of humanities’ biggest assets. A peacekeeper in a world dying of a thousand cuts. ...
... The authorities now know that Mr. Luthor had made it his purpose in life to destroy the reputation of Superman and turn the tide of public opinion against the super hero. All for the narcissistic gain of a troubled young man.Recall prior when Perry mentioned the idea for a new article titled, "End of Love Affair with Man in the Sky?" That was pure clickbait. What we see here is pure truth. No sensationalism. Just the sad, dark reality. Also, recall when he said, "No one buys papers period, Kent." In stark contrast, we never see another television, website article, or talking head again in the film. We see only newspapers, old-fashioned, and the stream of controversy is gone. No more talking heads. Just the cruel reality of Superman's death in service of humanity.
Cut to a small monument, circled by a funnel of autumn leaves. Still,
there are no people, only the wind stirring the atmosphere. Yet again, we
dolly right.
Cut to the Metropolitan Barber Shop, a waist-level shot moving left to
push on an empty chair. Still, the place is empty.
Cut to Harry's Sandwich shop, again deserted, and the establishment is
closed with chairs stored upside-down on the tables. We dolly through the
lonely tables.
Before, the streets were filling with protesters and rioters, and the media was throwing around controversy and inciting outrage. But now, the world is silent. All the anger and hate has ended with Superman's sacrifice. Humanity has been silenced by the selflessness of the being they feared and hated. The world has been humbled by his heroism.
Flyover shot of the Kent Farm back in Smallville, approaching to
circle the quaint Kansas house. A procession of cars is parked in a line up to the house. Guests in
black are scattered outside the porch, showing up to mourn Martha
Kent's son. The leafless trees surrounding the house are a fitting
result after all the falling leaf imagery, representing the final
death the film has built to. A light fog has fallen over the
environment, creating a soft glow around the low-hanging sun on the
horizon.
Close-up on dishes of warm food on a table, panning right as someone
places another dish down.
Cut to the kitchen through the open doorway. A woman (Zack Snyder's
wife, producer Deborah Snyder) exits the kitchen carrying another
dish, passing by to reveal Perry White and Jenny Jurwich enter,
removing their coats which are graciously taken. Beside the doorway is
billionaire Ayman Hariri, Zack Snyder's friend and founder of social
media platform Vero, making yet another cameo here.
Inside the kitchen. Pete Ross (Joseph Cranford) is speaking to Father Leone (Coburn Goss), reprising their roles from Man of Steel. Perry and Jenny shake hands with the two family friends and exchange silent words. Then they step under the doorframe, noticing Martha Kent standing over the open casket at the far end of the house across the dining room.
Perry turns to share a look with Jenny.
Cut to Clark's chest, his injury disguised by the black suit he now wears
and will be buried in. Martha gently slips a photo under his arm, depicting the late Jonathan Kent holding a fishing rod and catch, metaphorically
tying father and son together in death -- finally reunited after having both expressed how they miss each other on the mountaintop. Both of them lived trying to do
what is right, suffered unintended consequences as a result of their
actions, found hope in the ones they loved most, and then died for
them.
Then Martha lovingly holds Clark's hands. She visibly sniffles, trying to hold back her tears. Both her husband and
her son are gone now, but both died heroes.
"I'm just... I'm worried they'll take you away from me."
"I'm not going anywhere, Mum. I promise."
(Martha and Clark Kent, Man of Steel)
Top-down shot of Lois lying on a bed looking up at the miniature
solar system mobile hanging in the foreground (now owned by Zack Snyder's son Cash), whereupon the focus is. We can assume this is Clark's room, in turn
indicating his childhood fascination with space. It makes sense for Lois to be here, where she can feel closest to
him. Her positioning in the frame also situates her as a body amid the solar system -- literally Clark's world.
Lois' eyes flutter to indicate she may be on the verge of tears yet
again.
"We get to see Martha's bedroom and a portion of Clark's childhood bedroom, with warm and comfortable pale grey-blue wallpaper from before Clark's parents' time. I contrasted the homey Farm Club awards on his wall with other mementos like Science Club, and noted his interest in Space with the mobile planets hung in his room." (Carolyn Roucks, Set Decor, 9 May 2016)
"This is Clark's room, and of course Clark would have a mobile of planets above his bed because of his love of and/or fascination with his own origins." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:44:17)
Then, for the first time since the communion scene, we hear sound in the form of the bedroom door handle
opening, getting Lois' attention. The door swings open beside Clark's hooked outfits, further
establishing his presence in the atmosphere with their plaid country
style. Martha steps in with a small parcel.
"Hi," she whispers.
Lois sits up, eyes damp, and musters a smile.
Martha looks down at the parcel in her hands. "Clark had this sent here so he can surprise you," she explains. She offers it parcel to Lois. This might
be a callback to the bathroom scene, where Clark said he wanted to
surprise Lois with a dinner he would prepare himself, and now we learn
he also wanted to surprise her with this. As usual, Clark prefers to do things the human way, mailing the package instead of flying it by hand.
1226 Fourth Street
Metropolis, DM 20252
Mr Clark Kent
Rural Route 16
Smallville, Kansas, 66528
Lois takes the package.
Martha reaches a comforting hand to Lois' cheek. Looking up at the
elderly woman, Lois holds it there with her own.
Then Martha sniffles and turns away, heading out of the quaint
bedroom with a hand to cover her mouth, overwhelmed by emotions.
Now alone, Lois opens the package and retrieves a small black cloth
pouch. She empties its contents into her palm: a humble diamond ring, Clark's final gift to her. She takes it
in her fingers, holding the gift up and smiling.
Close-up on her fingers, nearly slipping the ring on as she turns it
over to examine it.
Then her smile fades. Tears welling up, she puts a hand on her chest
and closes her eyes as bagpipes come in.
Scene Overview
As Lex is incarcerated, presumably as a result of Lois' investigation,
civilisation has been put on pause as humanity honours the limitless
selflessness of the man who saved the world. In Smallville, Clark's
friends and family have gathered for his funeral, and Lois receives his
last gift to him: a humble wedding ring.
Scene Analysis
The empty streets and businesses hint at the grief that has fallen over
humanity following Superman's death. Humbled by his sacrifice in saving
humanity from a monster of its own creation, the world joins in a
prolonged silence. Everyone is out mourning the world's greatest hero.
This is complemented by the total absence of sound besides the music, with
the only exception being the sequence with Lois and Martha in Clark's
room. Essentially, the film has a moment of silence for its biggest
hero.
Lex shaving his head not only finalises his design as the iconic supervillain, but it also clues us in that he is far from done. Having only just become bald, we know there will be more to see from Lex Luthor.
Musical analysis coming soon.
According to Zack Snyder in the director's commentary (2:15:03)
Lex's Belle Reve prison was a set constructed at an unknown location
in Illinois. The shooting date is unknown. Jesse Eisenberg's very real hair was shaved off by a professional
barber, Thomas J Fentress.
"It was a wig, but when we shaved it off it was real hair." (Zack Snyder, Vero)
According to
Detroit Free Press, the Daily Planet printing press was filmed at the press room of
Detroit Legal News, 2001 West Lafayette Boulevard, Detroit, Michigan.
The filming date is uncertain. On Vero, Clay Enos posted
photos
of the printers.
The empty streets were shot on 9 November 2014. The distant
roadblocks
were digitally removed in the final film. That day, Clay Enos took
this photo
of Zack Snyder. The first shot of the montage is looking North from 228 South Clark
Street. The monument is the Chicago Board of Trade's statues on 116 West
Jackson Boulevard, one statue representing agriculture and the other
representing industry, symbolising the values that built
Chicago. The Metropolitan Barber Shop is on 56 West Van Buren Street. Harry's
Sandwich Shop is occupies the same building on 336 South Dearborn
Street.
"Now what we did here was, this was all of us, all the crew, because we didn't want people to know, so we tried to keep it to only the most intimate people of the crew so there wouldn't be a lot of extras around to blow the ending that Superman died, so this was all pretty much us." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
The Kent Farm was shot at 5498 Schoolhouse Road, Yorkville,
Illinois. The house was constructed for Man of Steel and then demolished after principal photography. In late
October 2013, lights were spotted at the location, and on 26 November, the Yorkville
Patch confirmed the farm was being reconstructed for the film's sequel. There are progress photos
for November and December 2013, and Heather Westmoreland photographed the finished house. Chicago Tribune reported that filming in Illinois would begin in fall, and Reel Chicago confirmed "winter scenes" would be shot in November for "one to two
weeks." Base camp was set up at the Whitetail Ridge Golf Club during
filming. At the time, one resident claimed she was unable to reach her local polling place to cast her vote on
election day due to road closures for filming. While there, set photographer Clay Enos photographed this atmospheric tree, Kate Altair photographed the farm,
and Larry Fong recorded Snyder throwing corn at his camera. By 4 October 2016, the house was sadly demolished yet again, presumably after filming at the site for Justice League.
Amazing Grace
Low-angle wide shot of the hill as the procession enters the field,
possibly foreshadowed by the brigade of soldiers on their horses in
Nairomi. This shot is a likely reference to the Akira Kurosawa 1954 Japanese
historical epic Seven Samurai, which served as one of Snyder's inspirations on Justice League. The shot resembles an almost identical wide shot of hills where a group
of bandits on horseback approach over the horizon. It is from the tail end
of the funeral scene
for Heihachi Hayashida, a kindly and charming moral centre among the
titular seven warriors who gave his life to save others. The comparison
here is obvious.
It is also a possible reference to the Dance Macabre from the ending of Ingmar Bergman's famous 1957 Swedish
film The Seventh Seal, where the protagonist and his companions hold hands as Death drags them
away with his scythe and hourglass, which were seen in Zack Snyder's
depiction of his five-film plan, so it may also be foreshadowing to
uncertain future events involving Superman.
The Seventh Seal may even have been referencing
Seven Samurai with this shot.
Bagpipes continue. Low-angle shot on an M101 Howitzer
cannon firing in slow-motion, exuding a jet of fire and smoke.
Its muffled boom transitions to the roar of a jet engine.
Low-angle shot of the cloudy sky as a squadron of five Boeing F/A-18 Super Hornet fighter jets flies above. Pan down
to see a far more extravagant military funeral marching ahead into
Arlington National Cemetery, watched by the mourning public behind barricades. The squadron performs the missing man formation, whereby one jet breaks from the wing to represent the absence of
the deceased. This aerial salute is performed at funerals and memorial
events. As we descend beside the procession, Superman's coffin comes
into view, wrapped in the flag of the United States.
"Also, in both funerals, the official and unofficial horses lead the way." (Zack Snyder, Vero)
Bagpipes continue. Crane shot over the cornfield, watching the
Smallville funeral move through a path between the stalks. Ascend to
see the cemetery in the distance beyond the field.
Shoulder shot behind Martha and Lois following the carriage, arms
locked together.
Reverse shot affixed to the interior of the carriage beside the
coffin, showing us Martha looks utterly miserable.
Bagpipes continue. Cut to
another M101 Howitzer in Washington as an officer in the background signals
in slow-motion, and the cannon fires off another round.
Side shot to see the multitude of cannons having done the same.
Amazing Grace continues.
Normal speed. Dolly right across the faces of saluting officers and
sombre onlookers viewing the Washington funeral, all looking sad in
mourning of the fallen Superman.
Side shot on Carrie Farris and Calvin Swanwick walking in the parade,
the blurred onlookers passing by in the background with the Potomac
River beyond.
Bagpipes continue. Shoulder shot close-up on the Smallville piper's
bagpipes.
Wide shot of the procession entering the cemetery through some trees,
moving left across the scene.
Waist-level shot on Superman's black coffin in Washington as the
officers lift the US flag over it, stretching it out between them.
This display is performed often for military funerals, and was also
seen in Zack Snyder's Watchmen (2009) during the
Comedian's funeral, possibly making it a reference.
Low-angle shot on three Howitzers, now slow-motion. The furthest left
fires off another round.
Elevating waist-level shot between the officers over Superman's
coffin, folding the red-white-and-blue flag in their hands in
ceremonial tradition.
Top-down shot on Superman's coffin. The officers step aside,
moving the folded flag to reveal the silver Superman shield emblazoned
on the shiny black coffin, foreshadowing Superman's return in a black
and silver version of his costume for Zack Snyder's Justice League.
Slow-motion ground-level shot on a cannon shell hitting the gravel, which Snyder confirmed parallels the imagery of the falling bullet casing when Thomas and
Martha Wayne were murdered. As the shell falls, we hear Father
Leone say, "The dead shall live," as if confirming the foreshadowing of Superman's resurrection,
or referencing how Superman's sacrifice resurrected the innocent Bruce
Wayne who fell with his parents all those years ago.
Scene Overview
Twin funeral processions are held in Smallville and Washington, one a
lavish national ceremony honouring the symbol of Superman, the other a
humble country tradition honouring the man underneath.
Scene Analysis
The sequence in Washington is a reference to President John F Kennedy's funeral procession, and the last of our JFK references. The Smallville funeral was inspired by the funeral of the wife of American architect Frank Lloyd Wright. It is not clear who specifically.
"Some of the Washington funeral, of course, is based on the JFK funeral, and [the Smallville funeral] was based on the funeral of Frank Lloyd Wright's wife." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:45:40)
Note the contrast here. Superman has two funerals, but the coffin being
carried in Washington is empty. What the world sees in Superman is merely
an image of a god-like messiah. The real Superman is the kindly farmer
from Kansas who is buried beside his father. The real Superman is a humble
man with a humble funeral.
Musical analysis coming soon.
Behind the Scenes
Superman's Washington funeral in Arlington Cemetery was partly filmed
near the location used for LexCorp, 2011 Centerpoint Parkway, Pontiac,
Michigan. In recreating Arlington, real Howitzers were used for the scene.
The sequence was shot in June or July 2014 when the crew were filming in
Pontiac.
"We also built the cemetery on the hill there. You'll see at the end of the movie there's a shot of the General saluting on this monument, and the hill with the stones on it, that was all done on just on this grassy hill on the back of that industrial park." (Zack Snyder, Batman v Superman Director's Commentary, 1:22:27)
"When we did the Howitzers, we had gone to Arlington to see the real ones and how they fired them, and it was really moving and amazing. I had asked to use real Howitzers because they use these ceremonial ones that are amazing and they certainly honour the people that they are being fired for, but I think for the movie I was like, let's use real Howitzers. I didn't realise what I was asking for, because when you fire those things, it's legit. It's incredible." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:46:11)
Smallville cemetery was shot at NaAuSay Cemetery, 8280 Grove Road,
Yorkville, Illinois. It is only a short walk from the Kent Farm location.
The site was confirmed for filming in December 2013. The sequences were shot on the 3rd and 4th of November 2014. Base camp was
set up at the Whitetail Ridge Golf Club during filming. While there, set photographer Clay Enos photographed this atmospheric tree and Larry Fong recorded Snyder throwing corn at his camera. Heather Westmoreland took photos of the filming and tents while
WaJaWanKenobi and
Luis Gomez got video
footage. Even Ben Affleck
was sighted at the set, the first hints that Superman would die. At the time, one resident claimed she was unable to reach her local polling place to cast her vote on
election day due to road closures for filming.
Presumably in the Winter of late 2013 or early 2014, the crew conducted a
handheld IMAX camera test
for viability
with Amy Adams in the snow, likely intended to resemble the funeral
sequence considering Adams' attire. Larry Fong has
two
photos
of the test.
"The cool thing about the actual cemetery here is, if you look in the distance, the actual Kent farm is right... Well, it would be screen left. 500 yards away you can see it. In BvS when we walked from the Kent farm and they took the wagon through the cornfields, you do the real walk from the Kent farm to the cemetery, so for all of us on the crew, and having been through these sequences, it was cool to go back to the Kent farm and then do that walk with Superman. It was very emotional for all of us." (Zack Snyder, Man of Steel Watch Party, 20 May 2020)
Men Are Still Good
"The dead shall live," says father Leone, standing at the head of the mourners gathered around Clark's casket, holding a Bible. We push on him, dramatically emphasising his continuing eulogy: "My slain shall rise again. Awake and sing, ye that dwell in dust. For thy dew is like the dew of the morning. And the Earth shall give birth to her dead." He is relating Isaiah 26:19. Of course, this line is very explicit foreshadowing of Superman's resurrection. However, I do not want to speculate too much on the Biblical parallels chosen for this film or the relevance they have for this scene because the Bible can get pretty complicated, or else I could write a whole new post simply coming up with theories. It is simply too uncertain to say any more than this.
Cut to the mourners leaving the cemetery in a column down the gravel
path, including Lana Lang (Emily Peterson), her
first adult appearance the bus rescue in Man of Steel. Toward the
back of the column is Martha, arm locked with Father Leone to her left.
Pete Ross is walking at her right. Behind them, the horse-drawn
cart's driver (Jeff Hanlin) prepares to leave.
Martha explains, "Ah, I need a ride back to the house. I forgot my cheque book to pay the funeral director."
Pete says, "They said it's all taken care of."
Martha finds that strange, and stops walking to turn to Pete. "By whom?" she asks.
Pete shrugs. "Anonymous donor."
We ascend above the trio, removing them from the frame. Lois comes into view out from behind a tall tombstone, staying behind to stand alone by Clark's open grave. Two grave diggers are standing nearby, waiting for her to be done. Clark is being buried next to the grave of his father. The wind blows, rustling the fields of corn.
Lois stares down silently at Clark's casket.
Rear wide shot of Lois, scrolling left as the empty cart starts moving,
exiting the scene right to reveal a black-clad figure watching from the
distance beneath the trees. Another, also black clad, enters from the
right to approach his side. Lois turns away from the grave then.
Cut to Bruce, standing solemnly. We pull out as Lois steps away in the
distance to crouch beside the tarped pile of soil for the
burial. Behind Bruce, Diana approaches.
Lois grabs a fistful of soil from where it spills under the tarp in a
shot possibly mirroring the shot of young Bruce clutching the dead leaves
in his hand at the bottom of the well during the film's opening, which
would be up for interpretation. Lois cherishes the Earth in her
hands.
Diana comes up beside Bruce. He glances at her for a second and
says,
"All the circuses back east, burying an empty box."
Superman's death was about him as a
person. He was more than just a hero, but a man, and a humble one. He
deserved a humble funeral, surrounded by his loved ones, rather than being
buried in an extravagant national ceremony. This is why neither Diana nor
Bruce took part in the funeral. They had no place there, only watching from
afar. Following The Death of Superman, Martha dubbed their son's public funeral a "circus" in Funeral for a Friend after the ceremony is disrupted.
Diana replies,
"They don't know how to honour him, except as a soldier."
After a pause, Bruce says remorsefully, "I failed him. In life." His work the past two years has focused primarily on killing the man who died to save Bruce's soul and the world, naturally filling him with guilt. Furthermore, while he saved Martha Kent, he could not save her beloved son, the person who still had the innocence Bruce lost as a child. He shakes his head. "I won't fail him in death." This is a promise on Clark's grave. Then he turns to
Diana. "Help me find the others like you."
Diana turns away from Bruce back to the cemetery and responds,
"Perhaps they don't want to be found."
Bruce responds with certainty,
"They will. And they'll fight." Diana turns to him again as he
goes on, "We have to stand together." Bruce spent the
majority of the film working towards killing Superman, and after changing
his ways, only stood beside Superman once. His great wrongdoing was seeing
Superman as an enemy over a friend and ally, and now he knows better.
Diana turns away again. After a few seconds, she sighs, turns back to him, and says, "A hundred years ago I walked away from mankind. From a century of horrors." She turns back to the cemetery. "Men made a world where standing together is impossible." She too was in a darker place before recently. After standing beside Superman and Batman to save the world, she is in a brighter place.
Diana turns away again. After a few seconds, she sighs, turns back to him, and says, "A hundred years ago I walked away from mankind. From a century of horrors." She turns back to the cemetery. "Men made a world where standing together is impossible." She too was in a darker place before recently. After standing beside Superman and Batman to save the world, she is in a brighter place.
"This was Diana telling us why we haven't seen her as part of the world. The horrors of World War I kind of turned her into a bit of a pacifist but, of course, that story's been changed a little bit." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:48:44)
Bruce looks away from Diana and counters hopefully, "Men are still good." The movie is including including Superman, who earlier meant himself when he claimed, "No one stays good in this world," which has now been subverted. For Bruce, he is confirming that he sees Superman as a man, and a good one at that, as Superman's sacrifice inspired this change of heart, subverting his earlier justification for killing Superman, "How many good guys are left? How many stayed that way?"
High-angle establishing shot of Metropolis at sunset, flying over
buildings towards Heroes Park, where the monument is surrounded by
crowds and lights.
We hear Bruce go on, "We fight. We kill. We betray one another. But we can rebuild." In
Zack Snyder's Justice League, Bruce literally rebuilds
Superman. Clark's example became the very thing that resurrected
him. Recall Bruce's opening line, "What falls is fallen." Now he is concluding that idea with, "But we can rebuild." An essential theme of the movie is that humanity's soul is never beyond saving.
Overhead rear shot directly above the many mourners, each one
raising a candle. We slowly fly forward above their heads towards
the subject of their focus.
Bruce continues, "We can do better. We will. We have to." This subverts his earlier mindset when he said cynically, "We're criminals, Alfred. We've always been criminals. Nothing's changed." These lines here, with Bruce no longer on screen, work as
narration, connecting with the film's opening narration and adding
to the film's conclusion with that reflection. Bruce is concluding his arc, indirectly telling us he has been
inspired by Superman's sacrifice to renew his faith in humanity. The movie is also speaking through him to tell us that he too has become a better man. He is still good, just as Superman learned.
Reverse shot, moving backwards to observe the faces of the
mourners. A multitude of professions, ethnic groups, and ages are
represented here, showing the range of humanity come to honour and
mourn the man who saved them all. Some stare solemnly while many
weep.
Overhead rear shot again, breaking over the line of heads to pan
down into the centre of the monument, where piles of flowers and candles have been placed around Superman's
glyph embedded in the ground beneath the shattered statue. Written
in graffiti on the ground before the glyph are the
words, "If you seek his monument, look around you." The
handwriting suggests this may have been written by Zack
Snyder. This is a reference to the dedication to Sir
Christopher Wren, the architect of London's St Paul's
Cathedral, which describes Superman handily. Translated from
Latin, it reads...
Here in its foundations lies the architect of this church and city, Christopher Wren, who lived beyond ninety years, not for his own profit but for the public good. Reader, if you seek his monument -- look around you. Died 25 Feb. 1723, age 91.
In the comics, a statue was erected to honour Superman after his
death. In this film, a statue was both erected and destroyed
prior to his death. No, the real monument to Superman is in
the world he died for and the people who live because of him,
because he believed in the potential of every person to be a force
for good.
"The truth about you is beautiful. We saw that the moment we laid eyes on you. We knew that one day, the whole world would see that." (Martha Kent, Man of Steel)
"Where we had thought to be alone, we shall be with all the world." (Joseph Campbell, The Hero with a Thousand Faces, 1949, p18)
Bruce turns to her before turning back to the cemetery. After a few moments, he responds, "Just a feeling." We hold on Bruce's stoic face for some time as Diana walks off behind him.
We cut with the sound of sliding prison bars.
The guard warns, "I'm gonna say this one more time. The warden wants to speak to you, so stand to your feet."
Finally, Lex obeys the order, slowly standing up off the bed and turning to face the visitors. His slow actions indicate he is not quite there, a complete reversal of his typical energy.
The guard barks, "Turn around and face the wall."
Cut to prison bars. Beyond are two men approaching down a concrete
hallway as more barred doors close behind them: a guard (Duvale Murchison) and a suited man (Alan J. Cronan), presumably Lex's lawyer.
The guard calls, "Prisoner Number A-C-23-19-40," referencing Lex's first comic debut in Action Comics #23 (1940). "The warden wants to speak to you, so stand to your feet."
The two approach the cell ahead containing the now-bald Lex in his
orange jumpsuit, sitting in a foetal position on his bed.
He remains still, merely flexing his fingers. Something has him
distracted.
The guard warns, "I'm gonna say this one more time. The warden wants to speak to you, so stand to your feet."
Finally, Lex obeys the order, slowly standing up off the bed and turning to face the visitors. His slow actions indicate he is not quite there, a complete reversal of his typical energy.
The guard barks, "Turn around and face the wall."
Lex obeys, turns, and moves against the wall.
The guard commands, "Place your forehead against the wall."
Lex cracks his neck.
"Place your hands behind your back so that I can come in and restrain
you."
Lex puts his forehead on the concrete, eyes closed.
Then the lights begin to flicker. After a few uneasy moments, they go
out, plunging us into darkness just as we hear the bars unlock.
Then the lights flicker again, and we hear the bars slide open. With a loud metallic clink, we catch
flashes of Batman standing in the now-open cell door, silhouetted as the
lights flicker around him for a split second and staring at the vulnerable
inmate. The other two men have now vanished. Then the lights go out
again.
The backup lights come back on, bathing Lex's cell in red. The Batman
stands menacingly in the cell door. The red light emphasises his anger,
face-to-face with the man who manipulated and fermented Bruce's rage
nearly leading him to murder Superman himself. All that rage is now
directed towards Lex.
Lex turns, and with the subtlest of expressions, shows concern.
Batman steps forward. His modulated voice shaking with anger, he warns,
"Whatever you do, wherever you go, I'll be watching you." He
holds the glowing hot Bat-brand up to Lex's shoulder, steaming with cruel
intent. These words imply Batman knows Lex is unlikely to stay behind bars
forever.
Suddenly not so afraid anymore, Lex whispers smugly,
"Oh. Look at us. This is how it all caves in. Civilisation on the wane, manners... out the window. Mmm?" Lex
is taunting Bruce with the knowledge of his true identity with the play on
words referencing Wayne Manor and the Batcave beneath the estate. Then Lex
snorts, holding in laughter at finding himself so funny, and quickly says,
"But who would believe me? I... I'm insane. I'm not even fit to stand
trial." He starts to look concerned again as he says this, as if pleading,
now that he is done gloating. Of course, this is addressing the threat of
Lex revealing this information to the public.
Batman responds, "That's right. We have hospitals who treat the mentally ill with compassion."
Lex snickers as he smiles once more, confident that he will be fine. His constant shifting between fear of Batman and glee at his lack of punishment further draws attention to his mental state.
Batman continues, "But that's not where you're going. I've arranged for you to get a transfer to Arkham Asylum in Gotham."
Lex's smile disappears. Clearly, he knows about Arkham Asylum, the mental prison from the comics where the worst of the worst Batman villains are dispatched.
Batman continues, "I still have some friends there." Medium close-up on him to emphasise the hate in his words. "They're expecting you."
After a moment, the twitching Lex takes a breath and replies, slowly, "But the bell's already been rung. And they've heard it. Out in the dark, among the stars." He quietly laughs. "'Ding dong, the god is dead.'" However, Lex says this last sentence with the utmost fear. This references the classic line from The Wizard of Oz, "Ding dong, the witch is dead," and that is the final reference to that story in BvS. It is also likely a tragic subversion of Jor-El and Lara's farewell to their son in Man of Steel. Jor-El believed he would be a god that humanity could not kill, but amongst the stars, humanity killed him. Lara was sad that they would never hear their child say their names, but Darkseid heard his dying scream. Note the similarities to the Man of Steel dialogue below...
Batman responds, "That's right. We have hospitals who treat the mentally ill with compassion."
Lex snickers as he smiles once more, confident that he will be fine. His constant shifting between fear of Batman and glee at his lack of punishment further draws attention to his mental state.
Batman continues, "But that's not where you're going. I've arranged for you to get a transfer to Arkham Asylum in Gotham."
Lex's smile disappears. Clearly, he knows about Arkham Asylum, the mental prison from the comics where the worst of the worst Batman villains are dispatched.
Batman continues, "I still have some friends there." Medium close-up on him to emphasise the hate in his words. "They're expecting you."
After a moment, the twitching Lex takes a breath and replies, slowly, "But the bell's already been rung. And they've heard it. Out in the dark, among the stars." He quietly laughs. "'Ding dong, the god is dead.'" However, Lex says this last sentence with the utmost fear. This references the classic line from The Wizard of Oz, "Ding dong, the witch is dead," and that is the final reference to that story in BvS. It is also likely a tragic subversion of Jor-El and Lara's farewell to their son in Man of Steel. Jor-El believed he would be a god that humanity could not kill, but amongst the stars, humanity killed him. Lara was sad that they would never hear their child say their names, but Darkseid heard his dying scream. Note the similarities to the Man of Steel dialogue below...
"He'll be an outcast. A freak. They'll kill him."
"How? He'll be a god to them."
"We'll never get to see him walk... Never hear him say our names."
"But out there, amongst the stars, he will live."
(Lara and Jor-El, Man of Steel)
Suddenly, Batman pulls back the brand punches it forward with a crunch.
Everything goes black.
On the wall beside Lex's head, the Dark Knight's smouldering logo has
been burned into the concrete, and the lights flicker again. This refusal to brand Lex, despite having committed crimes far greater than
Cesar Santos, confirms a huge shift in Batman's character.
Lex turns to look at the damage. He seems confused by the brand in the wall as the prison's normal lights
come back on. Batman is gone, leaving only the open cell door. We hear a
buzz and the cell door begins to close. Lex runs to it.
"But a bell cannot be unrung!" he yells angrily, and throws his face against the bars, nose dripping. He growls, "He's hungry. He's found us. And he's coming!" Then, having totally lost his marbles, Lex repeats,
"Ding, ding, ding, ding, ding, ding, ding, ding, ding..."
We watch Lex through the bars, pulling back as he continues his ominous
breakdown.
"Ding, ding, ding, ding, ding, ding, ding, ding, ding..."
Pull out further, visually abandoning Lex to his prison and leaving him to
his madness.
"Ding, ding, ding, ding, ding, ding, ding, ding, ding..."
Cut to an FBI forensics officer carrying a box out of frame,
revealing Lex's father's room at his home. The FBI is searching the
place from top to bottom.
"Ding, ding, ding, ding, ding, ding, ding, ding, ding..." continues Lex.
An FBI photographer takes a photo of the painting up on the wall. We
ascend and push on the wall to get a better look at the
painting.
"Ding, ding, ding, ding, ding, ding, ding, ding, ding..."
As we push on the lead demon, Lex utters a final chant, "Ding, ding, ding, ding, ding, ding, ding, ding, ding..."
Sudden cut to black and the credits roll, ending the movie on a subtle indication that hope lives on. The film also begins and ends with a shot on a coffin.
Wide shot of the Smallville Cemetery gates leading into the
cornfield. Putting his hands in his pockets, Bruce takes his leave,
following the path taken by the funeral procession. Again, he is walking through tall fauna, but this time the path ahead
of him is clear. Where he previously trod off the path, through thick
grass, now he is back on the right track, metaphorically and
literally, yet still depicted as a lonely silhouette.
High-angle shot on Lois, ascending above her and panning down to see
the coffin in the open grave. She is cradling the pile of soil in her
hands. Beside Clark's grave is the tombstone of Jonathan Kent, so both are buried side-by-side, once again reuniting them. Recall, this is also the place where Clark first told Lois the importance of keeping the world from finding out who he really was lest it reject him.
Low-angle shot on Lois as she extends her enclosed fist down to us, and you
may notice she is now wearing the diamond ring, accepting Clark's proposal. Recall Bruce's
monologue at the start of the film: "There were perfect things,
diamond absolutes." In a commonly Jewish tradition, she then drops the
soil on the coffin, a final act of the falling motif throughout the
movie: "But things fall. Things on Earth. And what falls is
fallen."
Behind the Scene:
"The cool thing was, when we were doing BvS, JJ [Abrams] was shooting Star Wars. That's how long ago we shot BvS, by the way. We had cameras and he had cameras, now the problem is Chris [Nolan] had a lens that he had made at one point, and it's a really good lens, close focus, I don't know, it does something that the other lenses don't do, so I was always struggling to get it from JJ, and I'd be like, 'Chris, get your damn lens! I need it! Tell those Star Wars guys they have to get in line! This is like our lens!' We used it on the close-up of Lois' hand with the ring, the low-angle where she has the dirt in her hand. That was shot on that lens." (Zack Snyder, ReelBlend Podcast, 22 March 2021)
Cut to the coffin, sitting just above the wood as the soil falls
across the surface.
Behind the Scene: In the director's commentary (2:54:06), Zack Snyder confirmed that this underground shot of the coffin was filmed on a set in Michigan, not on location.
Long shot of the cemetery, Lois standing above the gave. Her final
goodbyes done, she slowly retracts her hand, turns, and steps away,
finally leaving, exiting the scene right passing behind a leafless
tree. This leaves only the two workers in the background with their
shovels, ready to perform the burial.
Return to the coffin, gently pushing inward on the dirt before stopping.
Hold for a few quiet, sombre moments. Then, for a split second, we catch a few frames of the dirt
rising from the casket, a phenomenon caused by the use of Superman's
flight in the immediate vicinity around his body. Physically
subverting the film's falling motif, the rising dirt foreshadows
Superman's impending return, neatly ending the film on the final
message of optimism: Things that fall can rise again.
Sudden cut to black and the credits roll, ending the movie on a subtle indication that hope lives on. The film also begins and ends with a shot on a coffin.
"Yeah, I mean, Kryptonian cells probably would not be decaying. Just saying." (Zack Snyder, Empire Film Podcast, 30 March 2016, 00:12:45)
Scene Overview
As the funeral comes to an end, Diana meets with Bruce to watch from
afar. Inspired by the sacrifice of Superman, his character has undergone
a final shift and makes a promise on Clark's grave to protect the Earth
after a meeting with Lex in prison updates him of an impending alien
attack. With Bruce's arc concluded and Lois accepting her lover's
proposal, the film ends on a sign of hope.
Scene Analysis
After Superman's sacrifice, humanity mourns him for saving them at the cost of his own life. A world of hate is silenced by the weight of the alien's heroism. His selflessness saved Batman's soul and lifted him out of darkness. Superman is not just a superhero -- he makes the world better, turning prejudice into reverence and fear into mourning. His sacrifice is an act that heals.
"In the early days, we did talk about [Batman] branding [Lex] here, but as we evolved the story, of course, Batman's learned from the death of Superman as we have in the writing and telling of the story. This idea of him not [branding Lex] is a step in the right direction of Batman's humanity, even though he's so filled with rage about what Lex has done." (Zack Snyder, Batman v Superman Watch Party, 29 March 2020)
"And he was going to brand Lex because he knows what happens, but then I feel like the lessons of Superman's death have changed him already. He can't do it." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:51:32)
Note that the film begins and ends with a funeral, just
as Man of Steel begins and ends with a birth (one
literal and the other metaphorical). The first funeral ruined a young boy's life, started Bruce down a path that nearly made him a monster, and set a tone of despair and tragedy. The second funeral healed him, a catharsis of rediscovering lost humanity through the sacrifice a man whose innocence had not been lost.
"No, 100% not an accident. It was meant as a bookend to the movie of this sort of cyclical nature, and also I think it speaks to the mythological Bruce Wayne who's been surrounded by death his whole life and having to navigate those waters and have those things make him who he is would be an interesting thing to have this last death be the thing that is propelling him toward a cathartic... He sees a way out of the darkness through this last [death]." (Zack Snyder, Empire Film Podcast, 30 March 2016, 00:03:21)
"Of course, the movie begins with a funeral and ends with a funeral. It's a cyclical film. It was all designed to begin and end in a circle to give this impression that, at first, it's hopeless. But then, as we learn and grow through the process of discovering our humanity, the funeral becomes something else." (Zack Snyder, Batman v Superman: Dawn of Justice Watch Party, 29 March 2020)
"There's the cyclical nature of the movie, like I said. Joe Chill firing the gun and the shell casings bouncing with these shell casings bouncing. All of those, if you watch the movie in this kind of cyclical way, you'll see that all those images are wrapped together, the death of Superman almost being this cathartic thing where the death of the Waynes was the thing that broke something, where this is the thing that can heal, even though it's a funeral." (Zack Snyder, Batman v Superman: Dawn of Justice Watch Party, 29 March 2020)
At this point, due to a combination of his mental instability and the knowledge of a coming alien threat, Lex has completely lost his marbles. Here are the various examples of his mental instability that culminate in this scene...
- His use of a stress ball.
- His outburst during the Metropolis Library benefit.
- Leaving a jar of urine as a final insult to his victim.
- Killing people he values.
- His angry, unhinged ranting at Superman.
- His hateful change in demeanour when not getting what he wants.
- His total sadism during the helipad scene.
- His complete and utter lack of fear upon Doomsday's birth.
- His visible shaking, whether from fear of Darkseid or excitement.
Musical analysis coming soon.
Behind the Scenes
Smallville cemetery was shot at NaAuSay Cemetery, 8280 Grove
Road, Yorkville, Illinois. It is only a short walk from the Kent
Farm location. The site was confirmed for filming in December 2013. The sequences were shot on the 3rd and 4th of November 2014. Base camp was set up at the Whitetail Ridge Golf Club during
filming. While there, set photographer Clay Enos photographed this atmospheric tree and Larry Fong recorded Snyder throwing corn at his camera. Heather Westmoreland took photos of the filming and tents while WaJaWanKenobi and Luis Gomez got video footage. Even Ben Affleck was sighted at the set, the first hints that Superman would die. At the time, one resident claimed she was unable to reach her local polling place to cast her vote
on election day due to road closures for filming. The cinematography of the cemetery makes it seem hilly, but the
real cemetery used to film the scene is actually very flat.
Presumably in the Winter of late 2013 or early 2014, the crew
conducted a handheld IMAX camera test for viability with Amy Adams in the snow, likely intended to resemble the
funeral sequence considering Adams' attire. Larry Fong has two photos of the test.
Heroes Park was shot at an outdoor green screen set at the late
Michigan Motion Picture Studios along Centerpoint Parkway, Pontiac, Michigan. The statue was (partially) real
but built from artificial materials and ready around 9 June 2014. It was taken down on the 20th after serving its purpose and replaced with
the fake debris. The crowd of mourners at Heroes Park was shot on 25 June 2014. Bananadoc has photos of the mourning extras and the prop department setting the flowers.
Lex's Belle Reve prison was a set constructed at an unknown location in
Illinois, attached to the set where Jesse Eisenberg's head was shaved. The
shooting date is unknown.
"This was a set we built in Illinois. Where we shaved Jesse's head was right around the corner, so you would come down the hall and then down here, so we built it like they were related geographically." (Zack Snyder, Batman v Superman Director's Commentary, 2021, 2:51:03)
In an early draft of Batman v Superman written by David S Goyer,
Warner Bros wanted Batman to end the film branding Lex as a final
punishment. This was something he had to argue with the studio over,
ultimately winning out.
"The studio seemed to take this position after BvS that my writing was too dark and that this was their problem. But what they didn't mention was that, for example, in the draft of the Batman/Superman script that WB had developed -- [which was] the draft I was handed when I joined the project -- Batman was not only branding criminals with a bat brand, he also ended the movie by branding Lex Luthor.
That ending was a point over which I explicitly went to the mat with the studio again and again. I argued that Batman cannot end the movie continuing this behaviour, which amounted to torture, because then the movie was endorsing what he did.
It's one thing if Batman begins the movie as a dark version of himself whom we don't recognize, but he has to see the error of his ways and remember his better self in the course of the movie. By the end of the movie, he needs to be the Batman we know, and he has to be ready to go and create the Justice League. Otherwise, I said, what was the point?" (Chris Terrio, Vanity Fair, 8 April 2021)
