Supergirl (1984) A Film Ahead of its Time

In the shadow of the iconic Superman films, 1984’s Supergirl soared into theaters with big ambitions, a fresh-faced Helen Slater in the lead, and a bold attempt to expand the DC cinematic universe. Often dismissed as a commercial and critical flop at the time, this spinoff has aged into something far more interesting—a misunderstood gem that was genuinely ahead of its time.

In this AKAPAD The Film Buff episode, I dive deep into why Supergirl (1984) deserves a fresh look. From its clever interdimensional origin that navigates the tricky “last son of Krypton” paradox, to Faye Dunaway’s delightfully over-the-top witch Selena bringing cosmic horror and magic (Superman’s true weakness) into the mix, the film swings for the fences in ways that feel surprisingly modern. We explore the lost Christopher Reeve cameo that would have tied it tighter to the Reeve saga, the crossover elements with Jimmy Olsen and Lois Lane’s sister, heartfelt themes of identity and growth, and why it ranks higher in my personal Superman-era watchability than Superman III or IV.

Tied to family movie nights, 80s nostalgia, and the excitement around the upcoming Supergirl (2026), this episode celebrates the film’s practical effects, ambitious world-building, Jerry Goldsmith’s score (with one notable caveat), and its enduring charm despite the bumps. Whether you’re a longtime fan, a skeptic, or gearing up for the new movie, join me as we reconsider this underrated chapter in superhero cinema history.

“Who cares what the critics say? This movie’s ahead of its time.”

[00:00:02] The video opens with a brief production scene indicating the start of a podcast episode focused on the upcoming release of “Supergirl 2026.” The host, AKA Pad the Film Buff, welcomes viewers, mentioning a potential early viewing of the new Supergirl movie and promising a review shortly after seeing it.

[00:00:38] To celebrate and observe the upcoming “Supergirl 2026,” the video shifts focus to the 1984 “Supergirl” film. The host connects the discussion to personal family memories, describing how the film is part of their family’s tradition of gathering around cinema, similar to how others bond over sports like the Philadelphia Eagles. This personal touch sets the tone for a deeper exploration of the 1984 film beyond typical critiques.

[00:01:19] The narrator recalls his sister’s preferences in the 1980s, contrasting “Supergirl” with other female-centric shows and toys like She-Ra, Jem, Barbie, and Strawberry Shortcake. Despite this, his sister was more attached to the Lynda Carter “Wonder Woman” TV series than to Helen Slater’s Supergirl. This highlights a cultural and nostalgic resonance that “Wonder Woman” achieved that “Supergirl” did not during the 1980s.

[00:02:05] The video emphasizes that the 1984 Supergirl movie was not a feminist or “girl power” film, but rather a continuation of the Superman franchise. The host notes the family’s experience watching “Superman III,” which they found weak compared to the first two films, setting expectations around the Supergirl project as an attempted reboot or spinoff of the Superman series.

[00:02:49] A significant insight is that the 1984 film had an original plan involving Christopher Reeve reprising his Superman role in a cameo or supportive capacity, intending to position Supergirl as Superman’s mentee. However, Reeve dropped out, leading to changes in the film’s direction. This behind-the-scenes detail explains some narrative and tonal inconsistencies and affects the film’s reception.

[00:03:26] The movie, upon release, was a commercial and critical failure, losing money and receiving heavy criticism, which continues today. Yet, the host challenges this popular view, calling the movie “ahead of its time” for exposing deeper problems and expectations tied to the Supergirl character. The film’s struggle reflects broader issues in superhero storytelling, especially related to legacy characters and female superheroes.

[00:04:04] The video contextualizes Supergirl within the larger Superman mythos, noting the paradox that Superman must be the “last survivor” of Krypton for his story to work, which complicates introducing Supergirl. However, Supergirl often serves as a franchise revitalizer, much like Robin does in the Batman world when Batman’s character fades temporarily. This pattern shows how legacy characters are used for franchise renewal.

[00:05:23] The host highlights the film’s creative approach to Supergirl’s origin by linking her to a unique interdimensional space, different from traditional Krypton lore. She is said to come from a portion of Krypton blown into a space between reality and the Phantom Zone (a known DC Comics extradimensional prison referenced in Superman lore). This abstract origin attempts to solve established narrative problems about Supergirl’s place in the DC universe.

[00:05:59] The film’s world-building extends beyond Krypton’s imagery, presenting a different society and new characters, including Jimmy Olsen and Lois Lane’s sister, establishing a crossover with the Christopher Reeve Superman universe. This ties Supergirl’s story into the broader Superman franchise with references to “Superman’s my cousin” and the “Quest for Peace,” which alludes to a future Superman film—demonstrating embedded Easter eggs and continuity attempts.

[00:07:28] The villain, Selena, played by Faye Dunaway, is praised as a perfect supernatural counter to Supergirl, emphasizing the comic truth that magic is Superman’s greatest weakness. This antagonist introduces cosmic horror elements inspired by H.P. Lovecraft, marking the film as ambitious in genre blending—factoring in science fiction, fantasy, and cosmic dread.

[00:08:55] The movie incorporates emotional arcs including Supergirl’s struggle with identity, love, friendship, and secret identity (she is a brunette when disguised, which was considered clever for its time). The film explores themes of naivety and growth, though the host critiques the unrealistic portrayal of Supergirl as an adult woman with childish innocence, which affects believability.

[00:10:11] Despite some dated or awkward moments early in the film, the host considers 1984’s Supergirl underappreciated and underrated. He ranks it third-best among the original four Superman films, placing it ahead of both “Superman III” and “Superman IV: The Quest for Peace” in terms of watchability, lore, and world-building, until the rise of the Marvel Cinematic Universe drastically shifted superhero storytelling standards.

[00:11:20] The host reflects on the film’s impact on Supergirl’s ongoing origin complexity, noting the many retcons and reimaginings in comics and adaptations. The 1984 film represents a bold attempt to solidify Supergirl’s narrative place, answering many foundational questions about her Kryptonian heritage and connection to Superman. It is viewed as an ambitious project that swings for the fences, succeeding in several areas like the villain, plot arc, and emotional beats.

[00:12:41] One major shortcoming noted is the film score by Jerry Goldsmith, which failed to deliver an iconic theme comparable to John Williams’ legendary Superman score. While some musical themes appear by the credits, the overall soundtrack is considered a miss, especially given Goldsmith’s reputation as one of the top film composers.

[00:13:18] The video closes with praise for the creative end credits sequence, highlighting practical effects and a visually intriguing “mirror marching” effect, noting that it is worth watching on its own merits. The host encourages viewers to revisit “Supergirl” (1984), framing it as a grossly underrated film worthy of greater appreciation within superhero cinema history.

[00:13:53] The podcast wraps up with the host signing off, emphasizing the personal and cinematic value of the film despite its flaws, inviting the audience to reconsider its place in the superhero genre.

Key Insights and Themes:

• “Supergirl” (1984) as a misunderstood and ahead-of-its-time superhero film
• The film’s original link to Christopher Reeve’s Superman that was lost in production changes
• Use of cosmic horror and magic through the character Selena as a unique antagonist
• Complexity of Supergirl’s origin tied to Krypton and the Phantom Zone, addressing longstanding narrative challenges
• The movie’s attempt at interwoven mythology and crossover with the Superman universe via Jimmy Olsen and other references
• Strong emotional themes around identity, love, and growth despite some issues with characterization
• Widely regarded failure critically and commercially, yet holds a place of high respect for its ambition and influence
• Jerry Goldsmith’s score considered a notable weakness compared to John Williams’ Superman theme
• Visual elements such as the end credits praised for originality and execution

Quantitative/Rankings Summary:

*According to the host’s subjective perspective.

Summary Table: Supergirl (1984) Film Elements

Here is the transcript for this Film Buff Episode

00:00:02
Quiet on the set. Camera speed. Down production take one. Action. [clack] Supergirl 2026 drops in the next day or so. Welcome back, my AKA Powers, my fellow Film Buffers. This is AKA Pad the Film Buff podcast coming to you from Philadelphia, PA. Now, a little bit of a show update. Let’s just get it out of the way. I might be viewing “Supergirl” early, so be on the lookout for a potential “Supergirl 2026” release.

00:00:38
That will drop as soon as I see the movie, think about it, get back, probably drink some whiskey, sit down, record, tell you guys about it. But in celebration and observance of “Supergirl 2026,” we have the 1984 “Supergirl.” Now, here’s the crazy thing. A lot of times we talk about my family. We talk about personal connections to things. So much of this podcast is all the DeLucas coming together time and time again to watch movies. Some families do it with sports. They do it with the Eagles.

00:01:19
We do all that too, but we throw the great cinema, those great blockbusters, all in the mix. 1984, I remember this movie coming out. I remember my sister, and I feel like this is the real broad point. See, my sister liked She-Ra. She liked Jem. She loved Barbie Strawberry Shortcake. It was the ’80s, the age of toys, but she was a little bit older than me. But what didn’t happen with “Supergirl” is my sister latched on to “Wonder Woman,” a TV series from five, six years prior to “Supergirl.”

00:02:05
The Lynda Carter “Wonder Woman” still resonates with my sister today. The Helen Slater “Supergirl” movie never did. It never quite turned the key. And I’m taking this approach in introducing all of you to this movie because I want you all to know back during this time, “Supergirl” was not a feminist movie. It was not a girl power movie. This movie was seemed and expected to be a resurgence for “Superman,” because my sister and I would watch “Superman III” on TV. We had it taped off of TV, too.

00:02:49
My father would tape everything. We thought “Superman III” was a joke. We loved “Superman” one and two. “Supergirl” comes in, and it’s supposed to really be a inner-series reboot. It might be the first of its kind, but it’s a full spinoff. And until recently, I never realized how much of the Christopher Reeve films are in this movie. Christopher Reeve originally was supposed to have a cameo or somewhat of a supporting role in this film.

00:03:26
Originally, they developed this film as Supergirl helping her mentor, Superman. Christopher Reeve backs out, and we get the movie we have. And then what do we have? We have a movie that a lot of people lost a lot of money with. We have a movie that so many critics, even to this day, they lean heavy into bashing this movie. They like to rip it apart. If you want the real opinion, stay tuned. I’ll tell you right now, who cares? I think this movie’s ahead of its time.

00:04:04
I think this movie exposed some of the problems and expectations of Supergirl. We want Supergirl to exist. We love the idea of Supergirl. Even with the new “Flash” movie. Just a bunch of excitement for Supergirl. But then we can’t have Supergirl without Superman, and Superman’s supposed to be the last survivor of Krypton. It works best, it only works that way. And time and time again, every time Superman resurfaces, it takes a little bit.

00:04:43
But once they need that jolt, Supergirl’s the first thing they go to. Same as Batman. As soon as the Dark Knight fades away a little bit, we need Robin. Put Robin into the series, into the franchise, yet again and again and again. But Supergirl has origin problems. She has where she comes from problems. There’s a solution here, which I love. She comes from a somewhat of like a middle negative zone. Negative zone is a Marvel reference. The Phantom Zone.

00:05:23
The Phantom Zone is where Marlon Brando exiles the villains from the first movie in the first scene. Zod. Zod and all of them, they get blown away into the Phantom Zone. Supergirl comes from a chunk of Krypton that got blown into this interdimensional space that’s between our reality and the Phantom Zone. Really cool position there. But we get problems. The society, the people, they don’t look like Krypton. They very well could have looked like Krypton.

00:05:59
Everything that we got in that first “Superman” movie But the idea to get Supergirl to Earth, to have her have powers, and to have her in the uniform, no comic book and no movie has found a solution for this. But in 1984, they give Supergirl a different world, a different set of friends. They give her some of Super– Jimmy Olsen’s in this movie. The Richard Donner, Christopher Reeve, Jimmy Olsen. We have Lois Lane’s sister in this film. So there’s a big crossover. We have Kara Zor-El.

00:06:48
She references, “Superman’s my cousin.” I believe she says this three times within this movie. We see a Superman poster. We hear about the Quest for Peace, the fourth Superman movie, on a radio, which is kind of cool, a good level of foresight there. Again, just geeky Easter egg stuff that we all enjoy. But here’s the thing. Let’s just say we get to the point where Supergirl can fly. She has her costume. She has discovered her powers. To get there, we have to sacrifice one act of this movie.

00:07:28
And then we get the villain, played by Faye Dunaway, that I absolutely love. Selena. Selena, in this movie, is the perfect counter to any Superman hero. See, the true weakness of the Man of Steel is magic. From a storytelling standpoint, once this is defined, you can do some amazing things. This is why Superman’s greatest enemies are really from beyond. They’re not from Earth. Earth, he’s here to maintain the peace, but his true threats are technically cosmic evil, cosmic horror. It’s H.P.

00:08:18
Lovecraft. There’s so many elements in this movie that is cosmic horror. That’s H.P. Lovecraft. Selena is a witch, and she perfectly counters Supergirl. There’s times in this movie, things that happen in this movie, that are mind-bending, and that Supergirl has no control over, and we know it, and we track it. So in the whole arc, we want to see Supergirl fall in love. We want her to have a little bit of a struggle. We want her to make friends.

00:08:55
Her secret identity, where she’s a brunette, is incredible. What a smart solution. Like I said, a little bit ahead of the time. Honing in on magic ahead of its time. Putting her origin in somewhat of a membrane inner dimension that she gets blasted or somewhat drawn out, or she gets pulled out of it. Pretty effing cool. What’s not cool is just how this movie gets started, the things that we see.

00:09:35
We’re waving wands, and we’re growing trees, and I always said I felt like Kara Zor-El here, our girl, Helen Slater, the big fault of this movie is that she’s not a kid in the beginning of this movie, or at least a teenager. She’s full-grown, not understanding things, and speaking as if she’s just– And I think she’s supposed to be younger, but she’s a beautiful adult woman. We all know it. We all see it. So she’s a little bit naive. She doesn’t know what a tree is.

00:10:11
And you’re just going on, and you’re like, “Come on.” [laughs] But A.K. Patterson, I really want to hit this point home. I think this movie is grossly overlooked, underrated, underappreciated. If we stack it against the four Superman movies, this is the third-best one. I believe Quest for Peace could be number four. And then we have Superman III.

00:10:39
For a stretch, going into 2007, I think for watchability, I think for a lot of these things people like to say, world-building, the lore, the mythology, I think this movie as a spinoff is there. I would put this movie high until we get the Marvel Cinematic Universe. This would maybe be a top 15 superhero movie of all time. When it comes to DC and Marvel adaptations, I think it gets a little bit higher. This movie answers all the questions that even the comic books have struggled with.

00:11:20
Every few years, there is a new Supergirl origin or take or position or retcon. They are continuously trying to play with is she from Krypton, or is she not? And then do we make her related, or don’t we? These are really tough questions to answer just from everything everybody knows about Superman. This movie connects it, attempts to expand on it. I think it’s ambitious. It swings for the fences. I like the villain. I like the arc. I like the love story, casting there.

00:11:57
It’s an entertaining, fun movie. Do we have to get through the initial get up and let’s go? Yes. One other major fault Jerry Goldsmith. We don’t get this Beethoven-level, opera-level theme for “Supergirl.” We want something similar to that John Williams theme from “Superman: The Movie” that is still played everywhere today. I’m sure they’re playing it for the World Cup. Jerry Goldsmith, our composer, has let us down. And I don’t know. Let’s just see. You know what?

00:12:41
We’ll skip going through his biography or his discography or bibliography, filmography, only because I think it’s inconsequential if this is towards the end of his career or whatever. But he really doesn’t have many misses. This is one of them. Jerry, in my view, is still a top five film composer. Some of the theme resonates by the time we get to the credits, but the presentation of this movie is serious from the opening credits to end credits, I think. I love the end credits for it.

00:13:18
It’s like some weird mirror marching effect, all done practically. You can almost see that they’re projecting it, and it’s really cool stuff. [chuckles] If you guys want credit porn, just get to the end of this movie and just appreciate it for as long as you can, because it’s not every single credit, but it’s a good chunk of them, like the production credits. But yeah, AK Powers, “Supergirl,” 1984. Highly overrated, I think, by a good margin. I love you guys. Rock and roll.

00:13:53
[audience applauding] Okay, that’s a wrap. [audience applauding]

PETER A DELUCA AKAPD

AKAPAD is a versatile thinker known across Philadelphia, Europe, and even in the vast Multiverse as The Electic One. By day, he excels as an IT Mastermind, assisting individuals, both big and small, with a wide range of simple and complex solutions. In contrast, he is also a talented illustrator, a passionate comic book enthusiast, a creative content creator, and an active live streamer. Additionally, his podcast, “AKAPAD The Film Buff Podcast,” boasts an impressive catalog of over 500 episodes available on nearly every major platform.