Superman: The Movie was the film that proved that big-budgeted comic book films could work. The legacy of its direct sequel remains more contentious, specifically because of director Richard Donner’s controversial firing in the middle of production and replacement with Richard Lester. The debate over the “Donner Cut” (remastered and re-released in 2006) and the theatrically released “Lester Cut” not only resembles the similar situation surrounding Justice League, but it clouds a legacy that should only be celebrated. Regardless of which version you go with, Superman II remains the greatest Superman film of all-time.

Both the 1978 original and the 1980 sequel (released in the U.S. in summer 1980) found a tonal balance that fit the character better than Superman Returns’s emphasis on nostalgia and Man of Steel’s oppressively miserable tone counterintuitive to the epitome of hope. Between the first two installments, Superman II has a much stronger villain in Terrence Stamp’s General Zod, whose ties to Kal-El’s homeworld help highlight the feelings of “otherness” that he faces balancing his dual immigrant identity (much more interesting than Gene Hackman wackiness as Lex Luthor).

But what makes Superman II a superior film in both versions is that rather than narrowing the focus on Kal-El’s destiny, it’s a film about the practicality of balancing being a superhero and an average guy. The origin story was instrumental in giving Superman a purpose on Earth, but the sequel asks a more interesting question: “Now what?” We’ve seen superheroes save the planet before, and we’ll continue to see it as long as comic book adaptations exist. The more interesting question is what they do in between.

superman-2-christopher-reeve-1
Image via Warner Bros.

Clark’s (Christopher Reeve) simple struggle to choose between abandoning Lois (Margot Kidder) on a date or letting a child stumble into Niagara Falls is more understandable on a pathos level than any plot of nuclear annihilation could ever be. Superman’s struggle isn’t just a singular quest to defeat a villain, but the day-to-day challenge of integrating himself within society. The responsibility he faces feels more like a burden after witnessing these awkward scenarios, humanized even further thanks to Reeve’s “aw shucks” sincerity (the Lester version has significantly more sight gags).

The themes of public and personal desires in conflict are emphasized further through the sequences involving Jor-El (Marlon Brando). One of the significant improvements that the Donner Cut makes is the inclusion of restored sequences between father and son. Reeve brings a boyish charm to the role and seeing him promptly scolded for considering abandoning his powers is deeply felt, as the pursuit of a personal desire to be human threatens to erase his one connection to his father all together. Abandoning his abilities would permanently destroy the holographic projection of Jor-El that gives him guidance in his role as a public servant.

Reeve’s performance elevates the scene with his sense of insecurity, but his irresponsibility isn’t dismissed as teenage angst. This is the reality that Clark lives in; he literally turned back time in order to protect the woman he loves, but he’s not able to share a moment with her as his true self. Abandoning the responsibilities of saving the world would free him up to actually live in it. Superman II understands that as much as Kal-El’s story is based on destiny, it’s really about decision. Clark’s purpose on Earth is also a reality he can’t share with anyone, as Kryptoians are unable to bear children with mankind and his father can’t possibly understand what the planet he dispatched his son to. Turning away from that doesn’t make Clark seem callous or angry, but rather lonely and (ironically) unseen.

superman-2-terrence-stamp-christopher-reeve
Image via Warner Bros.

RELATED: How the Donner Cut of 'Superman II' Was the Original Snyder Cut

As rewarding as the moments shared with Lois are, Clark is immediately hit with the consequences of giving up his duty when Zod and his allies attack Mount Rushmore and head to the White House to threaten the President. Zod isn’t effective only because of Stamp’s threatening performance, but because he comes in direct responses to choices that Clark makes to turn away from his obligations as a hero. Becoming human allowed the extraterrestrial threat to fester and worsen resulting in even more pain throughout the rest of the film; Clark can’t even standup to a gang of rowdy drunks.

Reeve embodies the subsequent shame as he reenters the Fortress of Solitude to heartbreakingly atone for actions. Zod’s capture of Lois unifies his two worlds; as simply a man, he wouldn’t be able to guarantee her safety. There’s no prospect where he can be mortal, and his destiny can only be fulfilled when he understands that. The crystal that called to him inherently in the first film only reenters his sights when he comes to that realization.

It’s a deeper message than the origin story, and the conclusion is bittersweet. As fulfilling as it is to see Clark best Zod (and later the drunken bullies), his final promise to the President to never falter in his unwavering pursuit of “Truth, Justice, and the American Way” comes at the cost of once again erasing Lois’ memory. Her pleads to him that she’ll keep his secret are a risk that Clark can’t take, and thus his joyous trek across the horizon retains its personal burden.

superman-2-christopher-reeve-2
Image via Warner Bros.

The impact of Superman II permeates within many comic book sequels. The film’s strength in focusing on personal desire and public duty, and its notable that subsequent superhero sequels have returned to that theme. Batman Returns, Spider-Man 2, Hellboy II: The Golden Army, and The Dark Knight all surpassed their predecessors in part by focusing on their heroes’ craving a normal life amidst their superpowered responsibilities.

As Superman II celebrates over 40 years since its U.S. release, it’s easy to let the production troubles and subsequent Justice League comparisons dominate the discourse. It’s a fascinating discussion to have; Donner’s version is more ambitious and thoughtful, even if Lester’s is the more complete and well-paced film. However, that debate doesn’t get to the heart of why Superman II is the pinnacle of cinematic Superman stories. More so than any other, it’s a film that reminds us that the Man of Steel is still a man.

KEEP READING: Who Should Play Superman in the Next Movie? 11 Actors Who Could Be the New Man of Steel