Reviewed by Jeffrey Sanzel

Born in 1952, Christopher Reeve graduated from Cornell before studying acting at the Juilliard School, appearing in a range of stage productions. His cinematic work encompassed nearly two dozen films, including Somewhere in Time (1980), Deathtrap (1982), and The Remains of the Day (1993). But he will be forever remembered as the legendary Man of Steel in Superman (1978) and its sequels Superman II (1980), Superman III (1983), and Superman IV: The Quest for Peace (1987). 

In 1985, after learning to ride for the television version of Anna Karenina, Reeve became an avid equestrian. On May 27, 1995, his horse made a refusal (a failure to jump a fence which stops forward movement). Reeve fell and shattered his first and second vertebrae, resulting in a cervical spinal injury that resulted in paralysis from the neck down. 

Super/Man: The Christopher Reeve Story is a well-crafted, riveting documentary chronicling Reeve’s life, emphasizing his career as the cinematic superhero, his accident, and its aftermath. Directors Ian Bonhôte and Peter Ettedgui (who co-wrote the script with Otto Burnham) created a loving, dimensional tribute to a beloved personality in a sensitive but unflinching account. 

In the film’s first ten minutes, Reeve is established as Superman and superstar and quickly shifts to the accident: “In an instant, everything changed.” Over one hundred and four well-paced minutes, the filmmakers interview his children from his relationship with British modeling executive Gae Exton—Matthew Reeve and Alexandra Reeve Givens—and his son from his marriage to actor-singer Dana Morosini—Will Reeve. Exton, Glenn Close, Susan Sarandon, Whoopi Goldberg, Jeff Daniels, and John Kerry are interviewed, sharing their working and personal relationships with Reeve. 

The film touches on Reeve’s difficult childhood with unsupportive parents who divorced when he was three and remarried. In archival footage, Reeve discusses his father’s perpetual disappointment in his choices. Reeve saw theatre as providing a “neutral place that felt like home.” Theatre offered security with a beginning, middle, and end. The filmmakers emphasize his friendship with Juilliard classmate Robin Williams as well as his early days as a stage actor. While appearing in an off-Broadway play, Reeve flew to London for a Superman audition at Pinewood Studios. (Fellow castmate William Hurt discouraged him from selling out.) Immediately cast, the milestone changed the entire course of his career.

The film alternates between tracing the Superman films with his life post-accident, smartly weaving and contrasting the two worlds. His personal life is respectfully but thoroughly explored, focusing on his time with Exton and the birth of their two children. Realizing that they were incompatible, they separated but shared custody. Over the next several years, Reeve led a more Hollywood lifestyle until meeting Morosini. After a short courtship, Reeve realized he was ready to settle down, and they married in 1992. Their idyllic life was devastated just three years later.

The days immediately following the accident segue into the years of challenges and soul-searching. He states, “I ruined my life and everyone else’s.” The highly active Reeve pondered his shift from intensely “no fail” and “never quit” to a more reflective worldview. His sense of isolation, his weeks on the ventilator, and his fear of not just death but if I live, “Now what?” are part of the many interviews documented with Reeve. His shift in his approach to parenting is intimate and insightful. 

Super/Man draws on hundreds of hours of footage of Reeve’s struggles. (One odd note is the use of clips from the 1998 remake of Rear Window; they seem strangely integrated as they are not indicated as fictional.) Reeve became an outspoken activist, raising awareness for others in similar situations. He and Morosini founded The Christopher Reeve Foundation (later The Christopher and Dana Reeve Foundation), whose mission is “dedicated to curing spinal cord injury by advancing innovative research and improving the quality of life for individuals and families impacted by paralysis.” Reeve became a high-profile advocate, beginning with his first public appearance at the 68th Annual Academy Awards.

Central is the committed family bond—all three children, Exton, and, especially, Morosini—supported Reeve, who required twenty-four-hour care. (At the time, the cost was $400,000 a year.) Reeve’s gradual return to film, directing In the Gloaming and occasional acting appearances are traced until his sudden death on October 10, 2004 of heart failure at the age of 52. The coda is Morosini’s cancer diagnosis and passing two years later. 

The film is raw, compelling, and heartbreaking. Reeve lost much but embraced a difficult future: he made his path about giving visibility to those in similar straits. Ultimately, Super/Man is an honest and eye-opening look at the person who once said, “I am not a hero. I never have been, and I never will be.” On the contrary, Reeve was a hero in the real sense of the word—a person who has “the strength to persevere in the face of overwhelming obstacles.” Super/Man celebrates this truth.

The documentary is now playing in local theaters.