Super-Anon exposes dark underbelly of comic-book universe
By David F. Dawes
THE BROTHER of The Flash is deeply traumatized by the fact that he is infinitely slower (in more ways than one) than his renowned sibling. The illegitimate daughter of Wonder Woman and Superman concedes that she can't fly, but insists that she can jump unusually high. And the social life of the brother of The Human Torch is severely hampered by his tendency to spontaneously combust at unpredictable and inopportune moments.
These unfortunates are members of one of North America's most clandestine and pathetic organizations. The mandate of Super-Anon is to help dysfunctional relatives of comic book superheroes as they struggle with issues of low self-esteem, guilt, envy, the stigma of normality and barely suppressed rage, guiding them to find fulfillment and contentment while foundering in the shadows of their family members' fame.
These walking wounded are the subject of a new documentary produced by members of Reel Light, a Vancouver-based organization which provides fellowship for Christians working in entertainment media. Super-Anon, a 10-minute film directed by Stephen Plitt, was created especially as an entry in the 6th Annual Reel Fast 48hr Film Festival. Competing against 78 other films, it was one of the top 11 shown at the 2004 Reel Fast Gala Screening & Awards ceremony at the Commodore Ballroom August 21. Super-Anon received two major prizes: a Significant Achievement Award for Best Ensemble; and the Best Film Award.
The film was screened September 13 at Reel Light's opening event of the fall season. Afterwards, CC.com conducted an interview with Plitt.
Asked why he was attracted to the high-pressure challenge of making a film in 48 hours, he stated: "Partly it's the sheer insanity of it. Partly it's an excuse to make a film. But really, it's not too much more pressure than working in the 'normal' film industry. There's extremely long hours, crazy deadlines, and not enough money. It's just a different scale."
Super-Anon, he said, was almost totally improvised. "There was never any script. Several hours in, we made some notes on plot outline, and a scene list, but it wasn't very comprehensive. In fact, it was on the back of my grocery list. You know, 'bread, eggs, a scene with sunscreen in it.'"
He and his colleagues were quite satisfied with the results, however. "The film more than succeeded in its objective; the response blew us away. We would have been happy with no recognition, happier just making the top ten list. We didn't expect anything more than that. But audiences loved the film. They cheered at it! We were amazed."
Plitt plans to take Super-Anon to various film festivals, and hopes to have it broadcast on TV. He may also include it in an anthology with Afterlife Taxi, one of his previous Reel Fast entries.
As a behind-the-scenes veteran of many of Vancouver's 'Hollywood North' productions, Plitt reflected on the opportunities for Christian witness afforded by interaction with non-believers in such a forthrightly secular industry.
"In an intense environment, it's impossible to hide something so fundamental as your faith. Anyone you're working with is going to notice something different about you. Often they'll ask what that is. And there's the opportunity. But going on set and preaching to the cast and crew is a bad idea. It just alienates people."
While Super-Anon has no overt Christian content, it does demonstrate compassion for its subjects. In one of the film's more poignant and ironic moments, Superman's daughter demonstrates that she has inherited none of her father's much-vaunted 'super-strength,' as she is shown repeatedly struggling to open a bag of cookies. Her background has also taken its toll on her romantic life; as a child of two DC Comics characters, she cannot bring herself to date Marvel Comics superheroes' relatives.
An even sadder case is the brother of The Incredible Hulk. He has none of his famous green relative's brute power, but is saddled with a modicum of the Hulk's temper. He compensates by building his self-image -- at one point, feeling compelled to insist that the 'Incredible' label was his idea.
Clinging to such tattered remnants of reflected glory is characteristic of Super-Anon members. There is hope, however, as the film demonstrates. The closing sequence shows several members taking it upon themselves to form The B Team, a humanitarian 'swat squad' which roams the urban jungle.
The team's purpose is to prevent respectable citizens from acting stupidly. Among other things, they are shown dousing freshly lit cigarettes with fire extinguishers; and averting potential tragedy in a DVD rental store by confiscating a customer's copy of Gigli and replacing it with The Return of the King.
Plitt sees Super-Anon as a plea for understanding, and urges concerned citizens -- especially those without super-powers -- to help make the world a better place for these all-too-ordinary victims of celebrityhood.
The film, he says, "shows these poor people finding a little bit of meaning in their lives. But for people who really want to reach out to this group (like any oppressed people), there's opportunity."
He advises: "I would say the first order of business would be to find them. And then support them, allowing them to have their secrets. Because knowing their secrets is an awful responsibility."
