In the upcoming DCU film Supergirl, the Girl of Steel’s flight is not merely a means of travel but a dynamic extension of her personality, incorporating elements of martial arts. Star Milly Alcock described this unique approach as a reflection of Supergirl’s inherent selfhood, stating that she “wouldn't conform” to conventional depictions of flight. Director Craig Gillespie elaborated that this distinctive style was carefully developed, with stunt coordinator Rob Inch emphasizing an "effortlessness" to Kara’s movement.
The cinematic portrayal of superhero flight has undergone a significant evolution since its earliest days. The groundbreaking Fleischer Superman animated shorts of the early 1940s marked the first onscreen depiction of Kryptonian flight. Though Superman was rotoscoped, his flight was animated freely, resulting in a balletic quality that established him as an airborne character, a departure from earlier, more grounded depictions.
Later, the 1980s television series The Greatest American Hero humorously explored the practicalities of taking flight. In its pilot, the titular hero is advised by a young fan to run and extend his arms for takeoff, a process that contrasts with the intuitive, effortless flight desired for Supergirl.
Early live-action attempts also grappled with depicting flight. The 1948 Superman movie serial, starring Kirk Alyn, resorted to animation for flying sequences, a technique that felt jarring even by contemporary standards. Director Craig Gillespie noted the advancements available for the new Supergirl film, highlighting that a complex shot of Supergirl performing a karate kick while flying was achieved in-camera, utilizing extensive rigging and cabling – reportedly eight miles of it – for a stunt double.
The journey continued with George Reeves in Superman and the Mole Men (1951) and the subsequent Adventures of Superman television series. Here, flight was achieved using a device called “the pan,” a pole-mounted mechanism that allowed for basic movements and gave a distinctive look to the era’s aerial heroics.
Christopher Reeve’s iconic portrayal of Superman in the late 1970s and early 1980s further advanced the depiction of flight. The tagline "You will believe a man can fly" heralded a new era of visual effects, employing wire-rigs, blue screen, and front projection, despite significant initial investment and failed tests. The 1984 Supergirl film, starring Helen Slater, largely adopted the same flight mechanics as its Metropolis cousin, albeit with some feminine touches.
Modern filmmaking, as seen in Supergirl, continues to refine and innovate. While technological advancements allow for increasingly sophisticated aerial sequences, the practical challenges and the physical toll on performers remain. As Alcock quipped, the ability to fall meant the potential to get hurt, a reality she bore the bruises of.