document_title: Copenhagen Airport

question_text: which airport does ryanair fly into in copenhagen

text: Copenhagen Airport

text: History[edit]

text: The airport was inaugurated 20 April 1925 and was one of the first civil airports in the world. It consisted of a large, impressive terminal built of wood, a couple of hangars, a balloon mast, a hydroplane landing stage and a few grassy meadows that could be used as runways. The grass on the runways was kept short by sheep, which were shepherded away before take-offs and landings. From 1932 to 1939, takeoffs and landings increased from 6,000 to 50,000 and passenger number increased to 72,000. Between 1936 and 1939, a new terminal was built, considered one of the finest examples of Nordic functionalism. The terminal was designed by Vilhelm Lauritzen, who was considered a pioneer among architects, in terms not only of architecture and construction, but also of service and passenger comfort.[6]

text: In the years of World War II, the Copenhagen airport was closed for civil operations except for periodic flights to destinations in Sweden, Germany, and Austria. In the summer of 1941 the first hard-surface runway opened. It was 1,400 metres long and 65 metres wide. When World War II ended in May 1945, the Copenhagen airport was the most modern international airport in Europe, because the airport remained untouched by actual acts of war.

text: On 1 August 1947, Scandinavian Airlines was founded, an important event for the Copenhagen Airport, as Copenhagen was to be the main hub for the airline. Traffic increased rapidly in the first years Scandinavian Airlines operated. On 26 January 1947, a KLM Douglas DC-3 "Dakota" crashed at the airport after stopping en route to Stockholm. 22 people on board died, including the Swedish prince Gustav Adolf and the American opera singer Grace Moore. In 1948 Copenhagen airport was third largest airport in Europe with 150 daily takeoffs and almost 300,000 passengers for the year. The airport continued its rapid growth. The terminal was expanded several times and new hangars were erected.

text: In 1954 Scandinavian Airlines begins the world's first trans-polar route, flying initially to Los Angeles. The route proved to be a publicity coup, and for some years Copenhagen became a popular transit point for Hollywood stars and producers flying to Europe - also the airport handled 11,000 tonnes of freight per year. In 1956 the airport handled 1 million passengers per year and won the award[clarification needed] for the world's best airport. The runways were lengthened and fitted with technically advanced equipment.

text: By 10 May 1960, when the new airport terminal (now Terminal 2) was inaugurated, the daily number of jet operations had increased to 28, and still traffic kept on growing. The large new airport terminal soon became too small, and in 1969 yet another huge expansion programme was launched. Domestic traffic was relocated to a new domestic terminal (the eastern part of Terminal 1). The (current) international terminal was supplemented with a new pier (C) and a separate arrivals hall (the building between Terminals 2 and 3). A new control tower and 3,600 metres of additional runways allowed take-offs and landings to take place at the same time. When the comprehensive expansion was completed in 1972, the number of take-offs and landings exceeded 180,000 and there were more than eight million passengers.[7]

text: Throughout the 1970s, airport traffic continued to grow, but the airport was not expanded further. A new large airport located at the island of Saltholm (with a connecting bridge to Denmark and Sweden) was on the drawing board. It would be a huge investment, and the proposal was evaluated thoroughly by many experts. In 1980, however, the Danish parliament instead decided to expand the capacity of Copenhagen airport to 20-22 million passengers by the year 2000. This solution was far cheaper than building a new airport and because the new types of aircraft were less noisy, an airport on Saltholm did not offer a decisive environmental gain. In 1973 the airport handled 8 million passengers per year. The third (long) runway opens and the dual runway system (04L/22R-04R/22L) opened, strongly expanding the starts and landings capacity.

text: The expansion of the airport began in 1982, after the necessary period of planning. The intention was not to build Europe’s largest airport, but to build transit passengers’ favourite airport. A stay at the airport was supposed to be an integral part of the travel experience. Efficiency and precision were obvious demands, but focus was also on generating an oasis where international travellers could relax: beautiful architecture, Scandinavian design, and pleasant, light and comfortable surroundings with plenty of shops, restaurants and other facilities providing enjoyment and pleasure. The new cargo terminal was built in the eastern area of the airport.

text: A number of important construction projects were completed in 1998: a pier connecting the domestic and international terminals; a new arrivals hall; new modern baggage handling facilities; an underground railway station with two large underground parking facilities with 2400 spaces opens; and above it all the spacious and impressive delta-shaped terminal (Terminal 3) with 17 million passengers capacity. The first stage of the new Pier D was completed in the spring of 1999.[8]

text: On 1 July 2000 the Øresund Bridge opened which connects Denmark and Sweden by motorway and train. In 2001 the five-star Hilton hotel opened with 382 rooms. In 2006 for the first time in its history Copenhagen airport exceeded 20 million passengers and reached 20,900,000 passengers. In October 2007 the metro station opened, connecting the airport to the Copenhagen Metro. A new control tower opened in 2008 by Naviair as part of a major renovation of the ATC system. Airport officials announced plans to build a new low-cost terminal at the facility. On 31 October 2010 the new low cost terminal CPH Go opened by easyJet.[9] In 2013 the airport handled a new record of 24,067,030 passengers. In 2014 CPH announced plans to increase capacity to 40 million passengers per year.[10]

text: From late 2015, the airport became the first in Scandinavia to have a regularly scheduled A380 service after Emirates started operating the plane for its Copenhagen route.[11][12]

text: Facilities[edit]

text: Terminals[edit]

text: Copenhagen Airport has two terminals, Terminals 2 and 3, which handle all flights and share a common airside passenger concourse as well as the arrivals section which houses customs and baggage claim and is physically located in Terminal 3. The newest section, CPH Go, dedicated to low-cost carriers opened in October 2010. So far, EasyJet, Transavia and Ryanair are the only airlines operating from this facility, which is accessed from terminal 3. An all new Terminal 4 has been discussed, but replaced by plans to expand the current facilities in appropriate increments.[13] Copenhagen Airport says passengers have easy transfer possibilities.[14]

text: Previously all domestic flights departed from Terminal 1, but from 29 March 2015 all departures have been collected in Terminals 2 and 3,[15][16] and Pier C was expanded with another jetbridge at DKK 10M to facilitate the Emirates Airbus A380 to Dubai from December 2015,[17][18] which was the first 2-class A380 carrying 615 passengers.[12][19]

text:
Welcome sign

Check-in desks at Terminal 2

Exterior of Terminal 3

Baggage claim inside Terminal 3

text: Runways[edit]

text: Despite the short distance to the city centre, approaches to, and departures from, the airport are above water due to the heading of the dual parallel runway system (04R/22L & 04L/22R). Those runways point to the Øresund strait, close in both directions. The supplementary runway (30/12) oriented perpendicular to the main runways also has its approach or departure over Øresund in one direction. In the opposite direction, the 30/12 runway has noise restrictions as flight happens close over residential areas.[20] Other advantages are the low altitude of the airport and absence of hills and high buildings below the approach directions. In case of fog, the runway 22L is equipped with an ILS of category III C system, which allows modern aircraft to land in zero sight. Runway 04R/22L was widened by 4 meters in each side at DKK 30M to accommodate the Airbus A380, as part of a general concrete renewal program of DKK 300M.[12][17][18]

text: Airlines and destinations[edit]

text: Passenger[edit]

text:
Airlines
Destinations

Adria Airways
Ljubljana

Aegean Airlines
Athens
Seasonal: Heraklion, Kalamata, Rhodes

Aeroflot
Moscow–Sheremetyevo

Air Arabia Maroc
Agadir[21]

airBaltic
Riga

Air Cairo
Seasonal: Sharm el-Sheikh[22]

Air Canada
Toronto–Pearson

Air China
Beijing–Capital (resumes 30 May 2018)[23]

Air Europa
Seasonal: Madrid

Air France
Paris–Charles de Gaulle
Seasonal: Bordeaux[24]

Air Greenland
Kangerlussuaq
Seasonal: Narsarsuaq

Air India
Delhi

Air Serbia
Belgrade

Alitalia
Milan–Linate, Rome–Fiumicino

Alsie Express
Sønderborg

Atlantic Airways
Vágar
Seasonal: Bastia
Seasonal charter: Innsbruck[25]

AtlasGlobal
Istanbul–Atatürk

Austrian Airlines
Vienna
Seasonal: Innsbruck

BH Air
Seasonal charter: Burgas

Blue Air
Bucharest, Turin

British Airways
London–Heathrow

Brussels Airlines
Brussels

Bulgarian Air Charter
Seasonal charter: Varna

Cathay Pacific
Seasonal: Hong Kong (begins 2 May 2018)[26]

Cobalt Air
Larnaca (begins 27 March 2018)[27]

Croatia Airlines
Zagreb
Seasonal: Split (begins 5 May 2018)[28]

Czech Airlines
Prague

Danish Air Transport
Bornholm, Karup
Seasonal: Sharm el-Sheikh
Seasonal charter: Burgas, Chania, Kefalonia, Larnaca, Sitia, Tirana (begins 13 June 2018)[29]

Delta Air Lines
Seasonal: New York–JFK

easyJet
Berlin-Schönefeld, Berlin-Tegel, Bristol, Edinburgh, London–Gatwick, Lyon, Manchester, Milan–Malpensa, Paris–Charles de Gaulle
Seasonal: Venice, Åre Östersund[30][31]

easyJet Switzerland
Basel/Mulhouse, Geneva

EgyptAir
Cairo

Emirates
Dubai–International

Eurowings
Düsseldorf (ends 24 March 2018)

Finnair
Helsinki

Iberia Express
Madrid

Icelandair
Reykjavík–Keflavík

Iraqi Airways
Baghdad, Basra,[32] Najaf

Jet2.com
Seasonal: Leeds Bradford, Newcastle

Jet Time
Charter: Antalya, Aqaba, Bodrum, Bourgas, Chambéry, Chania, Corfu, Dalaman, Dubrovnik, Fuerteventura, Gazipasa, Gran Canaria, Grenoble, Heraklion, Hurghada, Innsbruck, Izmir, Kangerlussuaq, Kefalonia, Kos, Lanzarote, Larnaca, Málaga, Malta, Marsa Alam, Palma de Mallorca, Ponta Delgada, Rhodes, Salzburg, Samos, Sharm el-Sheikh, Skiathos, Tenerife–South

KLM
Amsterdam

LOT Polish Airlines
Warsaw–Chopin, Groningen

Lufthansa
Frankfurt, Munich

Luxair
Luxembourg

Middle East Airlines
Seasonal: Beirut

Montenegro Airlines
Seasonal: Podgorica, Tivat (resumes 15 June 2018)[33]

Nordica
Groningen, Örebro (PSO), Tallinn (resumes 27 April 2018)

Norwegian Air Shuttle
Aalborg, Alicante, Amsterdam, Bangkok–Suvarnabhumi, Barcelona, Bergen, Berlin-Schönefeld,[34] Budapest, Dublin, Edinburgh, Fort Lauderdale, Funchal, Gran Canaria, Helsinki, Kraków, Lisbon, London–Gatwick, Los Angeles, Madrid, Málaga, Marrakech, Milan–Malpensa, New York–JFK, Nice, Oslo–Gardermoen, Orlando, Paris–Orly, Prague, Pristina (begins 28 March 2018),[35] Riga, Rome–Fiumicino, Stockholm–Arlanda, Tel Aviv–Ben Gurion, Zagreb
Seasonal: Agadir, Athens, Bastia (begins 28 April 2018), Belgrade, Burgas, Catania, Chania, Corfu, Dubai–International, Dubrovnik, Faro, Geneva, Grenoble, Heraklion, Ibiza, Kos, Larnaca, Las Vegas, Malta, Marseille, Montpellier, Oakland,[36] Olbia, Palma de Mallorca, Pisa, Rhodes, Salzburg, Sarajevo, Split, Tenerife–South, Varna, Venice

Nouvelair
Seasonal: Monastir (begins 31 March 2018),[37]

Pakistan International Airlines
Islamabad, Lahore

Pegasus Airlines
Istanbul-Sabiha Gökcen
Seasonal: Antalya

Primera Air
Seasonal: Dalaman, Enfidha, Faro,[38] Fuerteventura, Gran Canaria, Jersey, Kalamata,[38] Lamezia Terme (begins 5 June 2018), Lanzarote, Lisbon, Menorca,[38] Palma de Mallorca, Ponta Delgada, Rhodes, Santorini, Tenerife–South, Varna, Zakynthos[38]
Charter: Alicante, Barcelona,[38] La Palma,[39] Málaga

Qatar Airways
Doha

Royal Air Maroc
Casablanca

Royal Jordanian
Amman–Queen Alia (resumes 3 June 2018)[40][41]

Ryanair
Alicante, Bergamo, Bologna, Budapest, Charleroi, Cologne/Bonn, Dublin, Edinburgh, Kaunas, London–Luton, London–Stansted, Madrid, Málaga, Porto, Rome–Ciampino
Seasonal: Naples, Thessaloniki, Tenerife–South, Valencia, Zadar[42]

S7 Airlines
Seasonal: St Petersburg (begins 2 June 2018)[43]

Scandinavian Airlines
Aalborg, Aarhus, Aberdeen, Amsterdam, Athens, Beijing–Capital, Bergen, Berlin–Tegel, Billund, Birmingham, Bologna, Boston, Brussels, Bucharest-Otopeni, Chicago–O'Hare, Dublin, Düsseldorf, Faro, Frankfurt, Gdańsk, Geneva, Gothenburg, Hamburg, Hanover, Helsinki, Krakow, London–Heathrow, Málaga, Manchester, Miami, Milan–Malpensa, Munich, Newark, Nice, Oslo–Gardermoen, Palanga, Palma de Mallorca, Paris–Charles de Gaulle, Poznań, Prague, Reykjavík–Keflavík, Riga, Rome–Fiumicino, San Francisco, Shanghai–Pudong, Stavanger, Stockholm–Arlanda, Stuttgart, Tallinn, Tokyo–Narita, Trondheim, Vagar, Venice, Vienna, Vilnius, Warsaw–Chopin, Washington–Dulles, Wrocław, Zürich
Seasonal: Ålesund, Alicante, Barcelona, Beirut (resumes 24 March 2018), [44], Biarritz, Chania, Dubrovnik, Edinburgh, Fuerteventura, Gazipaşa (begins 24 March 2018), Genoa (begins 24 March 2018), Gran Canaria, Lisbon (begins 25 March 2018), Malta, Montpellier, Naples, Olbia, Palermo, Pisa, Pristina, Pula, Saint Petersburg, Salzburg, Sarajevo (begins 24 March 2018), Split, Tenerife–South, Thessaloniki, Toulon (begins 2 July 2018),[45] Tromsø

Singapore Airlines
Singapore

SunExpress
Seasonal: Antalya (begins 22 March 2018)[46]

Swiss International Air Lines
Zürich

Small Planet Airlines
Seasonal charter: Ioannina (begins 14 May 2018)

TAP Air Portugal
Lisbon

Thai Airways
Bangkok–Suvarnabhumi
Seasonal: Phuket

Thomas Cook Airlines Scandinavia
Charter: Antalya, Banjul (begins 30 October 2018), Bodrum, Cancún, Chania, Dalaman, Funchal, Gran Canaria, Heraklion, Hurghada, Ibiza, Kos, Larnaca, Mytilene, Palma de Mallorca, Preveza, Punta Cana, Rhodes, Sal, Sharm El Sheikh, Skiathos, Tenerife, Varadero

Transavia
Eindhoven

TUI Airways
Seasonal charter: Cancun, Krabi, Mauritius, Phuket,[47] Phu Quoc

TUI fly Nordic
Charter: Antalya, Burgas, Gran Canaria, Izmir, Krabi, Lanzarote, Larnaca, Phuket, Puerto Plata, Pula (begins 5 May 2018)[48]

Turkish Airlines
Istanbul–Atatürk
Seasonal: Ankara, Istanbul-Sabiha Gökcen, Konya

Ukraine International Airlines
Kiev–Boryspil (begins 25 April 2018)[49]

Vueling
Barcelona, Málaga, Paris–Orly[50]
Seasonal: Florence

Widerøe
Haugesund, Kristiansand, Sandefjord

Wizz Air
Kyiv-Zhuliany, Sibiu (begins 22 June 2018),[51] Skopje, Sofia

WOW air
Reykjavík–Keflavík

text: Cargo[edit]

text:
Airlines
Destinations

China Cargo Airlines
Shanghai–Pudong

DHL Aviation
East Midlands, Leipzig/Halle, Madrid, Oslo–Gardermoen, Stockholm–Arlanda

Emirates SkyCargo
Atlanta, Chicago–O'Hare, Columbus–Rickenbacker,[52] Dubai–Al Maktoum,[53] Houston–Intercontinental, Los Angeles, Mexico City

FedEx Express
Paris–Charles de Gaulle

West Air Sweden
Helsinki

text: Statistics[edit]

text: Passenger numbers[edit]

text:
Passenger numbers at Copenhagen Airport[54]

Year

Passengers
handled[nb 1]

Passenger
% Change

Aircraft
movements

Aircraft
% Change

2001
18,082,158
25 !
288,738

2002
18,253,446
11 !0.9
266,896
 7.6

2003
17,707,742
13 !3.0
259,002
 3.0

2004
19,034,557
02 !7.5
272,512
 5.2

2005
19,980,301
05 !5.0
268,652
 1.4

2006
20,877,533
06 !4.5
258,354
 3.8

2007
21,409,886
09 !2.5
257,587
 0.3

2008
21,529,857
12 !0.6
264,086
 2.5

2009
19,715,317
14 !8.4
236,170
 10.6

2010
21,501,473
01 !9.1
245,635
 4.0

2011
22,725,284
04 !5.7
253,759
 3.3

2012
23,334,939
10 !2.7
242,990
 4.2

2013
24,066,917
08 !3.1
244,933
 0.8

2014
25,627,093
03 !6.5
251,799
 2.8

2015
26,608,869
07 !3.8
254,832
 1.2

2016
29,043,287
07 !9.2
265,784
 4.2

text: Busiest routes[edit]

text:
Busiest European routes by passenger traffic (2015)[55]

Destination
Airport(s)
Passengers

 London
Gatwick Airport, Heathrow Airport, Stansted Airport
2,208,994

 Oslo
Gardermoen Airport, Sandefjord Airport
1,537,226

 Stockholm
Arlanda Airport
1,465,317

 Amsterdam
Schiphol Airport
914,698

 Paris
Charles de Gaulle Airport, Orly Airport
884,285

 Helsinki
Helsinki Airport
784,737

 Frankfurt
Frankfurt Airport
681,752

 Berlin
Tegel Airport, Schönefeld Airport
636,576

 Brussels
Brussels National Airport
483,718

 Istanbul
Atatürk Airport, Sabiha Gökçen Airport
483,471

 Bergen
Bergen Airport
468,733

 Reykjavik-Keflavik
Reykjavík–Keflavík Airport
437,514

 Rome
Fiumicino Airport
428,777

 Munich
Munich Airport
413,346

 Zürich
Zürich Airport
410,238

 Barcelona
El Prat Airport
402,061

 Düsseldorf
Düsseldorf Airport
381,189

 Milan
Malpensa Airport
373,903

 Málaga
Costa del Sol Airport
366,585

 Dublin
Dublin Airport
315,118

 Vienna
Schwechat Airport
302,939

 Manchester
Manchester Airport
299,966

 Gothenburg
Landvetter Airport
298,277

 Nice
Côte d'Azur Airport
278,474

 Stavanger
Stavanger Airport
266,779

 Geneva
Geneva Airport
248,144

 Madrid
Madrid-Barajas Airport
248,144

text:
Top 12 busiest intercontinental routes from CPH (2016)

Rank
Airport
Passengers
handled
Change
15/16
Airlines

1.
 New York–JFK, New York–Newark

382,360

 15.8%

Delta Air Lines, Norwegian, Scandinavian Airlines

2.
 Dubai–International

319,324

 19.3%

Emirates, Norwegian

3.
 Doha

286,886

 36.9%

Qatar Airways

4.
 Bangkok–Suvarnabhumi

265,544

 1.6%

Norwegian, Thai Airways

5.
 San Francisco

151,938

 1.8%

Scandinavian Airlines

6.
 Tokyo–Narita

143,209

 10.5%

Scandinavian Airlines

7.
 Washington–Dulles

140,091

 4.0%

Scandinavian Airlines

8.
 Chicago–O'Hare

137,636

 0.3%

Scandinavian Airlines

9.
 Beijing–Capital

137,134

 0.4%

Scandinavian Airlines

10.
 Shanghai–Pudong

134,835

 33.5%

Scandinavian Airlines

11.
 Toronto–Pearson

129,641

 13.9%

Air Canada

12.
 Singapore

120,860

 2.5%

Singapore Airlines

text:
Busiest domestic routes by passenger traffic (2016)[55]

Destination
Airport(s)
Passengers

Aalborg
Aalborg Airport
890,706

Bornholm
Bornholm Airport
256,913

Aarhus
Aarhus Airport
194,782

Billund
Billund Airport
151,201

Karup
Midtjyllands Airport
148,508

text: Other facilities[edit]

text: SAS traffic office resides at the airport, and so do Cimber Sterling's. Thomas Cook Airlines has both its head- and traffic office here as well as a flight simulator centre. All these reside at Copenhagen Airport South and in Dragør, Dragør Municipality together with a VIP-terminal. The VIP-terminal building is actually the very first terminal building, from the 1920s. It was moved about 2 km during the 1990s.

text: In 2015, Boeing opened a maintenance, repair, and operations facility at CPH, as proximity to daily operations is more important than high wages when checks have to be made every 1,000 flight hours.[56]

text: Ground transport[edit]

text: Within the airport area, special airport buses depart every 15 minutes. The bus line connects all terminals and parking lot areas and uses in all 11 bus stops. The transport is free of charge for all. During a few night hours, the buses depart every 20 minutes instead.[57]

text: Train[edit]

text: The airport's station is located underneath Terminal 3 on the Øresund Railway Line.

text:
The station is served by trains operated by DSB Øresund as part of the Øresundståg service. These trains, running as local services between Copenhagen city centre and Helsingør, have a dense stopping pattern inside Denmark. Øresundståg also operates regional and intercity trains to destinations across the south of Sweden: Malmö, Gothenburg, Kalmar, Karlskrona, and Kristianstad.
DSB, the Danish national rail operator, have InterCity and InterCityExpress trains calling at this station. Domestic destinations include Esbjerg, Aarhus, Aalborg and Sønderborg. DSB additionally runs trains to border cities of Germany and Sweden, such as Flensburg (Germany) and Ystad (Sweden), where a ferry connects the station to the Danish island of Bornholm.
Swedish SJ runs several high-speed trains with daily departures between Copenhagen central station (København H) and Stockholm central station (Stockholm C) and Gothenburg (Göteborg). These trains all call at the Copenhagen Airport station (København Lufthavn/Kastrup).

text: Metro[edit]

text: Line M2 of the Copenhagen Metro links the airport with the city centre in around 15 minutes. The Metro station is two floors above the underground rail station and continues on elevated tracks until it goes underground after 5 stations. The metro trains run very frequently; in rush hours every four minutes, outside rush hours and on weekends every six minutes, and every 15/20 minutes during night time.

text: Road[edit]

text:
Movia buses 5C, 35, 36 and Gråhundbus line 999 all stop at the airport; bus 888, express-bus to Jutland, also stops at the airport. Movia bus 2A stops near the airport. There are long-distance buses to Sweden and Norway operated by Swebus: 820 to Oslo via Gothenburg and 832 to Uppsala via Stockholm. GoByBus and Bus4You also operate the same routes.
The E20 motorway runs right by the airport. The E20 uses the toll road Øresund Bridge to Sweden. The airport has 8,600 parking spaces.

text: Incidents and accidents[edit]

text: 26 January 1947 (1947-01-26): Douglas Dakota (DC-3), PH-TCR of KLM crashed after takeoff from Copenhagen, killing all 22 on board, including Prince Gustaf Adolf of Sweden (father of present king Carl XVI Gustaf) and American singer and actress Grace Moore. The delayed KLM flight from Amsterdam had landed at Copenhagen for a routine stop before continuing to Stockholm. Soon after the Douglas DC-3 aircraft took off, it climbed to an altitude of about 50 metres (150 feet), stalled, and plummeted nose-first to the ground where it exploded on impact. The investigation showed that the crash had been caused by a forgotten elevator gust lock. Short of time, the captain never performed his checklist and took off not realising the lock was still in place. See 1947 KLM Douglas DC-3 Copenhagen accident.

text: 17 November 1957 (1957-11-17): Vickers Viscount G-AOHP of British European Airways crashed at Ballerup after the failure of three engines on approach to Copenhagen Airport. The cause was a malfunction of the anti-icing system on the aircraft.[58]

text: 28 August 1971 (1971-08-28): a Malév Ilyushin Il-18, HA-MOC crashed into the sea while executing an instrument approach. The main cause of the accident was microburst, a particularly dangerous and unpredictable meteorological phenomenon. 23 passengers and the crew of 9 died. 2 passengers survived. The captain of the plane was World War II flying ace of the Royal Hungarian Air Force, Dezső Szentgyörgyi. He was due to retire in less than 3 weeks.

text: In fiction[edit]

text: Copenhagen airport is used in several Danish and other Scandinavian films. The American-German 1971 Warren Beatty and Goldie Hawn film Dollars unfolds mainly at Hamburg, but a part of the film takes place also here. Dawn Divine (portrayed by Goldie Hawn) tails a man to Copenhagen in order to establish whether he's a crook or not, all scenes in Copenhagen unfold at the airport.


document_title: Superman (1978 film)

question_text: who played lex luthor in the original superman movie

question_tokens: who played lex luthor in the original superman movie

root

text: Superman (1978 film)

text: Plot[edit]

text: On the planet Krypton, using evidence provided to the Council by scientist Jor-El, the attempted insurrectionists General Zod, Ursa, and Non are sentenced to the Phantom Zone. For this, Zod swears revenge on Jor-El and his family. Jor-El, despite his eminence, is unable to convince the Council that Krypton will soon be destroyed when its red supergiant sun goes supernova. To save his infant son, Kal-El, Jor-El launches him in a spaceship to Earth, a planet with a suitable atmosphere where Kal-El's dense molecular structure will give him superhuman powers. Shortly after the launch, Krypton's sun explodes, destroying the planet.

tag: p

text: The ship crash lands on Earth near Smallville, Kansas. Kal-El, who is now three years old, is found by Jonathan and Martha Kent, who are astonished when he lifts their truck. They take him to their farm and raise him as their own, naming him Clark after Martha's maiden name.

text: At 18, soon after Jonathan's death due to a heart attack, Clark hears a psychic "call" and discovers a glowing crystal in the remains of his spacecraft. It compels him to travel to the Arctic, where it builds the Fortress of Solitude. Inside, a hologram of Jor-El explains Clark's origins, and after 12 further years of educating him on his powers and responsibilities, he leaves the Fortress wearing a blue and red suit with the House of El family crest on his chest and becomes a reporter at the Daily Planet in Metropolis. He meets and develops an unrequited romantic attraction to co-worker Lois Lane.

text: Lois becomes involved in a helicopter accident where conventional means of rescue are impossible, requiring Clark to use his powers in public for the first time to save her, and goes on to thwart a jewel thief attempting to scale a building using suction cups, captures robbers fleeing police on the river by depositing their boat at the police station, rescues a girl's cat from a tree in her neighborhood, and saves Air Force One after a lightning strike destroys the port outboard engine, making the "caped wonder" an instant celebrity. He visits Lois at her home the next night and takes her for a flight over the city, allowing her to interview him for an article in which she names him "Superman".

text: Meanwhile, criminal genius Lex Luthor plans to make a fortune in real estate by buying large amounts of barren desert land, then using a nuclear explosion on a weak point in the San Andreas Fault, sinking California and leaving Luthor's desert as the new West Coast, greatly increasing its value. Upon learning the U.S Army and U.S. Navy will launch a twin nuclear missile test, he diverts one missile to the weak spot, after his incompetent henchman Otis accidentally redirects the first missile to the wrong place.

text: Knowing Superman could stop his plan, Luthor lures him to an underground lair, reveals his plan and exposes him to Kryptonite. As Superman weakens, Luthor further taunts him by revealing the first missile is headed toward Hackensack, New Jersey, as even Superman cannot stop both impacts. Eve Teschmacher, Luthor's accomplice, is horrified because her mother lives in Hackensack, but Luthor does not care and leaves Superman to a slow death. Knowing his reputation for keeping his word, Teschmacher rescues Superman on the condition he will deal with the New Jersey missile first. After Superman diverts the missile into outer space, the other one explodes near the San Andreas Fault. He mitigates the effects of the explosion, getting rid of the fallout and shoring up the crumbling Earth, but the aftershocks damage the Golden Gate Bridge and cause the Hollywood Sign and the Hoover Dam to collapse, endangering lives.

text: While Superman is busy saving others, Lois's car ends up falling into a crevice that opens from one of the aftershocks. It fills with dirt and debris and she suffocates to death. Angered at being unable to save her, Superman defies Jor-El's earlier warning not to manipulate human history, preferring to heed Jonathan's advice that he must be here for "a reason". He accelerates around Earth, rewinding time, to save Lois. After bringing Luthor and Otis to prison, he flies into the sunrise for further adventures.

text: Cast[edit]

text:
Marlon Brando as Jor-El: Superman's biological father on Krypton. He has a theory about the planet exploding, yet the Council refuses to listen. He dies as the planet explodes but successfully sends his infant son to Earth as a means to help the innocent. Brando sued the Salkinds and Warner Bros. for $50 million because he felt cheated out of his share of the box office profits.[7] This stopped Brando's footage from being used in Richard Lester's version of Superman II.[8]
Gene Hackman as Lex Luthor: A scientific genius and businessman who is Superman's nemesis. It is he who discovers Superman's weakness and hatches a plan that puts millions of people in danger.
Christopher Reeve as Clark Kent/Superman: Born on Krypton as Kal-El and raised on Earth, he is a being of immense power, strength and invulnerability who, after realizing his destiny to serve mankind, uses his powers to protect and save others. As a means to protect his identity, he works in Metropolis at the Daily Planet as mild-mannered newspaper reporter Clark Kent and changes his clothes into a red-blue red caped suit with an S shield on its chest and known for his dubbing as "Superman" by Lois. Reeve was picked from over 200 actors who auditioned for the role.

Jeff East as the teenage Clark Kent: As a teenager, he is forced to hide his superhuman abilities, making him unpopular among his classmates and frustrating his efforts to gain the attention of classmate Lana Lang (Diane Sherry). Following the death of his adoptive father, he travels to the Arctic to discover his Kryptonian heritage. East's dialogue in the film is redubbed by Christopher Reeve for the final cut.[9]

Ned Beatty as Otis: Lex Luthor's bumbling henchman.
Jackie Cooper as Perry White: Clark Kent's hot-tempered boss at the Daily Planet. He assigns Lois to uncover the news of an unknown businessman purchasing a large amount of property in California. Keenan Wynn was originally cast, but dropped out shortly before filming because of heart disease. Cooper, who originally auditioned for Otis, was subsequently cast.[10]
Glenn Ford as Jonathan Kent: Clark Kent's adoptive father in Smallville during his youth. He is a farmer who teaches Clark skills that will help him in the future. He later suffers a fatal heart attack that changes Clark's outlook on his duty to others.
Trevor Howard as the First Elder: Head of the Kryptonian Council, who does not believe Jor-El's claim that Krypton is doomed. He threatens Jor-El, "Any attempt by you to create a climate of fear and panic amongst the populace must be deemed by us an act of insurrection."
Margot Kidder as Lois Lane: A reporter at the Daily Planet, who becomes a romantic interest to Clark Kent. The producers and director had a very specific concept for Lois: liberated, hard-nosed, witty and attractive. Kidder was cast because her performance had a certain spark and vitality, and because of her strong interaction with Christopher Reeve.[11] Over 100 actresses were considered for the role. Margot Kidder (suggested by Stalmaster), Anne Archer, Susan Blakely, Lesley Ann Warren, Deborah Raffin and Stockard Channing screen tested from March through May 1977. The final decision was between Channing and Kidder, with the latter winning the role.[12][13]
Jack O'Halloran as Non: Large and mute, the third of the Kryptonian villains who are sentenced to be isolated in the Phantom Zone.
Valerie Perrine as Eve Teschmacher: Lex Luthor's girlfriend and accomplice. Already cynical of his increasing grandiosity and disturbed by his cruelty, she saves Superman's life after learning that Luthor has launched a nuclear missile toward her mother's hometown of Hackensack, New Jersey. She shows a romantic interest in Superman, implied by her fixing her hair before she makes her presence known to him, and then by kissing him before she saves his life.
Maria Schell as Vond-Ah: Like Jor-El, a top Kryptonian scientist; but she too is not swayed by Jor-El's theories.
Terence Stamp as General Zod: Evil leader of the three Kryptonian criminals who swears vengeance against Jor-El when he is sentenced to the Phantom Zone.
Phyllis Thaxter as Martha Kent (née Clark): Clark Kent's faithful adoptive mother. A kindly woman who dotes on her adoptive son and is fiercely devoted to her husband, Jonathan. She is her son's emotional support after Clark is devastated by Jonathan's death. Thaxter was producer Ilya Salkind's mother-in-law.[14]
Susannah York as Lara: Superman's biological mother on Krypton. She, after learning of Krypton's fate, has apprehensions about sending her infant son to a strange planet alone.
Marc McClure as Jimmy Olsen: A teenage photographer at the Daily Planet. Jeff East, who portrayed the teenage Clark Kent, originally auditioned for this role, but outranked following his portrayal of the teen Clark.[9]
Sarah Douglas as Ursa: General Zod's second in command and consort, sentenced to the Phantom Zone for her unethical scientific experiments.
Harry Andrews as the Second Elder: Council member, who urges Jor-El to be reasonable about plans to save Krypton.

tag: ul

text: Kirk Alyn and Noel Neill have cameo appearances as Lois Lane's father and mother in a deleted scene that was restored in later home media releases.[15] Alyn and Neill portrayed Superman and Lois Lane in the film serials Superman (1948) and Atom Man vs. Superman (1950), and were the first actors to portray the characters onscreen in a live-action format. Neill reprised her role in the 1950s Adventures of Superman TV series, and also appeared as Lex Luthor's elderly wife in the opening scene of the film Superman Returns (2006).

text: Larry Hagman and Rex Reed also make cameos; Hagman plays an army major in charge of a convoy that is transporting one of the missiles, and Reed plays himself as he meets Lois and Clark outside the Daily Planet headquarters.

text: Production[edit]

text: Development[edit]

text: Ilya Salkind had first conceived the idea for a Superman film in late 1973.[16] In November 1974, after a long, difficult process with DC Comics, the Superman film rights were purchased by Ilya, his father Alexander Salkind, and their partner Pierre Spengler. DC wanted a list of actors that were to be considered for Superman, and approved the producer's choices of Muhammad Ali, Al Pacino, James Caan, Steve McQueen, Clint Eastwood and Dustin Hoffman.[14] The filmmakers felt it was best to film Superman and Superman II back-to-back, simultaneously, and to make a negative pickup deal with Warner Bros.[12] William Goldman was approached to write the screenplay, while Leigh Brackett was considered. Ilya hired Alfred Bester, who began writing a film treatment. Alexander felt, however, that Bester was not famous enough, so he hired Mario Puzo (The Godfather) to write the screenplay at a $600,000 salary.[17][18] Francis Ford Coppola, William Friedkin, Richard Lester, Peter Yates, John Guillermin, Ronald Neame and Sam Peckinpah were in negotiations to direct. Peckinpah dropped out when he produced a gun during a meeting with Ilya. George Lucas turned down the offer because of his commitment to Star Wars.[10][16]

text: Ilya wanted to hire Steven Spielberg to direct, but Alexander was skeptical, feeling it was best to "wait until [Spielberg's] big fish opens." Jaws was very successful, prompting the producers to offer Spielberg the position, but by then Spielberg had already committed to Close Encounters of the Third Kind.[16] Guy Hamilton was hired as director, while Puzo delivered his 500-page script for Superman and Superman II in July 1975.[12] Jax-Ur appeared as one of General Zod's henchmen, with Clark Kent written as a television reporter. Dustin Hoffman, who was previously considered for Superman, turned down Lex Luthor.[14][17]

text: In early 1975, Brando signed on as Jor-El with a salary of $3.7 million and 11.75% of the box office gross profits, totaling $19 million. He horrified Salkind by proposing in their first meeting that Jor-El appear as a green suitcase or a bagel with Brando's voice, but Donner used flattery to persuade the actor to portray Jor-El himself.[16] Brando hoped to use some of his salary for a proposed 13-part Roots-style miniseries on Native Americans in the United States.[19] Brando had it in his contract to complete all of his scenes in 12 days. He also refused to memorize his dialogue, so cue cards were compiled across the set. Fellow Oscar winner Hackman was cast as Lex Luthor days later. The filmmakers made it a priority to shoot all of Brando and Hackman's footage "because they would be committed to other films immediately."[12][16] Though the Salkinds felt that Puzo had written a solid story for the two-part film, they deemed his scripts too long and so hired Robert Benton and David Newman for rewrite work. Benton became too busy directing The Late Show, so David's wife Leslie was brought in to help her husband finish writing duties.[10] George MacDonald Fraser was later hired to do some work on the script, but he says he did little.[20]

text: Their script was submitted in July 1976,[12] and carried a camp tone, including a cameo appearance by Telly Savalas as his Kojak character. The scripts for Superman and Superman II were now at over 400 pages combined.[7][21] Pre-production started at Cinecittà Studios in Rome, with sets starting construction and flying tests being unsuccessfully experimented. "In Italy," producer Ilya Salkind remembered, "we lost about $2 million [on flying tests]."[16] Marlon Brando found out he could not film in Italy because of a warrant out for his arrest: a sexual-obscenity charge from Last Tango in Paris. Production moved to England in late 1976, but Hamilton could not join because he was a tax exile.[21]

text: Mark Robson was strongly considered and was in talks to direct, but after seeing The Omen, the producers hired Richard Donner. Donner had previously been planning Damien: Omen II when he was hired in January 1977 for $1 million to direct Superman and Superman II.[22] Donner felt it was best to start from scratch. "They had prepared the picture for a year and not one bit was useful to me."[22] Donner was dissatisfied with the campy script and brought in Tom Mankiewicz to perform a rewrite. According to Mankiewicz "not a word from the Puzo script was used."[21] "It was a well-written, but still a ridiculous script. It was 550 pages. I said, 'You can't shoot this screenplay because you'll be shooting for five years'," Donner continued. "That was literally a shooting script and they planned to shoot all 550 pages. You know, 110 pages is plenty for a script, so even for two features, that was way too much."[23] Mankiewicz conceived having each Kryptonian family wear a crest resembling a different letter, justifying the 'S' on Superman's costume.[22] The Writers Guild of America refused to credit Mankiewicz for his rewrites, so Donner gave him a creative consultant credit, much to the annoyance of the Guild.[22]

text: Casting of Superman[edit]

text: It was initially decided to first sign an A-list actor for Superman before Richard Donner was hired as director. Robert Redford was offered a large sum, but felt he was too famous. Burt Reynolds also turned down the role, while Sylvester Stallone was interested, but nothing ever came of it. Paul Newman was offered his choice of roles as Superman, Lex Luthor or Jor-El for $4 million, turning down all three roles.[10]

text: When it was next decided to cast an unknown actor, casting director Lynn Stalmaster first suggested Christopher Reeve, but Donner and the producers felt he was too young and skinny.[12] Over 200 unknown actors auditioned for Superman.[24]

text: Olympic champion Bruce Jenner had auditioned for the title role.[10] Patrick Wayne was cast, but dropped out when his father John Wayne was diagnosed with stomach cancer.[22]

text: Both Neil Diamond and Arnold Schwarzenegger lobbied hard for the role, but were ignored. James Caan, James Brolin, Lyle Waggoner, Christopher Walken, Nick Nolte, Jon Voight, and Perry King were approached.[10][16] Kris Kristofferson and Charles Bronson were also considered for the title role.[25]

text: James Caan said he was offered the part but turned it down. "I just couldn't wear that suit."[26]

text: "We found guys with fabulous physique who couldn't act or wonderful actors who did not look remotely like Superman," creative consultant Tom Mankiewicz remembered. The search became so desperate that producer Ilya Salkind's wife's dentist was screen tested.[10][16]

text: Stalmaster convinced Donner and Ilya to have Reeve screen test in February 1977. Reeve stunned the director and producers, but he was told to wear a "muscle suit" to produce the desired muscular physique. Reeve refused,[13][27] undertaking a strict physical exercise regime headed by David Prowse. Prowse had wanted to portray Superman, but was denied an audition by the filmmakers because he was not American. Prowse also auditioned for Non. Reeve went from 188 to 212 pounds during pre-production and filming.[28] Reeve was paid a mere $250,000 for both Superman and Superman II, while his veteran co-stars received huge sums of money: $3.7 million for Brando and $2 million for Hackman for Superman I.[29] However, Reeve felt, "'Superman' brought me many opportunities, rather than closing a door in my face."[30] Jeff East portrays teenage Clark Kent. East's lines were overdubbed by Reeve during post-production. "I was not happy about it because the producers never told me what they had in mind," East commented. "It was done without my permission but it turned out to be okay. Chris did a good job but it caused tension between us. We resolved our issues with each other years later."[9] East also tore several thigh muscles when performing the stunt of racing alongside the train. He applied 3 to 4 hours of prosthetic makeup daily to facially resemble Reeve.[9]

text: Filming[edit]

text: Principal photography began on March 28, 1977 at Pinewood Studios for Krypton scenes, budgeted as the most expensive film ever made at that point. Since Superman was being shot simultaneously with Superman II, filming lasted 19 months, until October 1978. Filming was originally scheduled to last between seven and eight months, but problems arose during production. John Barry served as production designer, while Stuart Craig and Norman Reynolds worked as art directors. Derek Meddings and Les Bowie were credited as visual effects supervisors. Stuart Freeborn was the make-up artist, while Barry, David Tomblin, John Glen, David Lane, Robert Lynn and an uncredited Peter Duffell and André de Toth[31] directed second unit scenes. Vic Armstrong was hired as the stunt coordinator and Reeve's stunt double; his wife Wendy Leech was Kidder's double. Superman was also the final complete film by cinematographer Geoffrey Unsworth, who died during post-production while working on Tess for director Roman Polanski. The Fortress of Solitude was constructed at Shepperton Studios and at Pinewood's 007 Stage.[32][33] Upon viewing the footage of Krypton, Warner Bros. decided to distribute in not only North America, but also in foreign countries. Due to complications and problems during filming, Warner Bros. also supplied $20 million and acquired television rights.[18][32]

text: New York City doubled for Metropolis, while the New York Daily News Building served as the location for the offices of the Daily Planet. Brooklyn Heights was also used.[34] Filming in New York lasted five weeks, during the time of the New York City blackout of 1977. Production moved to Alberta for scenes set in Smallville, with the cemetery scene filmed in the canyon of Beynon, Alberta, the high school football scenes at Barons, Alberta, and the Kent farm constructed at Blackie, Alberta.[35][36] Brief filming also took place in Gallup, New Mexico, Lake Mead and Grand Central Terminal.[5] Director Donner had tensions with the Salkinds and Spengler concerning the escalating production budget and the shooting schedule. Creative consultant Tom Mankiewicz reflected, "Donner never got a budget or a schedule. He was constantly told he was way over schedule and budget. At one point he said, 'Why don't you just schedule the film for the next two days, and then I'll be nine months over?'."[32] Richard Lester, who worked with the Salkinds on The Three Musketeers and The Four Musketeers, was then brought in as a temporary co-producer to mediate the relationship between Donner and the Salkinds,[16] who by now were refusing to talk to each other.[32] With his relationship with Spengler, Donner remarked, "At one time if I'd seen him, I would have killed him."[18]

text: Lester was offered producing credit but refused, going uncredited for his work.[32] Salkind felt that bringing a second director onto the set meant there would be someone ready in the event that Donner could not fulfill his directing duties. "Being there all the time meant he [Lester] could take over," Salkind admitted. "[Donner] couldn't make up his mind on stuff."[16] On Lester, Donner reflected, "He'd been suing the Salkinds for his money on Three and Four Musketeers, which he'd never gotten. He won a lot of his lawsuits, but each time he sued the Salkinds in one country, they'd move to another, from Costa Rica to Panama to Switzerland. When I was hired, Lester told me, 'Don't do it. Don't work for them. I was told not to, but I did it. Now I'm telling you not to, but you'll probably do it and end up telling the next guy.' Lester came in as a 'go-between'. I didn't trust Lester, and I told him. He said, 'Believe me, I'm only doing it because they're paying me the money that they owe me from the lawsuit. I'll never come onto your set unless you ask me; I'll never go to your dailies. If I can help you in any way, call me."[23]

text: It was decided to stop shooting Superman II and focus on finishing Superman. Donner had already completed 75% of the sequel.[37] The filmmakers took a risk: if Superman was a box office bomb, they would not finish Superman II. The original climax for Superman II had General Zod, Ursa and Non destroying the planet, with Superman time traveling to fix the damage.[10]

text: Donner commented, "I decided if Superman is a success, they're going to do a sequel. If it ain't a success, a cliffhanger ain't gonna bring them to see Superman II."[22]

text: Effects[edit]

text: Superman is well known for its large-scale visual effects sequences, all of which were created before the digital age. The Golden Gate Bridge scale model stood 70 feet long and 20 feet wide. Other miniatures included the Krypton Council Dome and the Hoover Dam. Slow motion was used to simulate the vast amount of water for the Hoover Dam destruction. The Fortress of Solitude was a combination of a full-scale set and matte paintings. Young Clark Kent's long-distance football punt was executed with a wooden football loaded into an air blaster placed in the ground. The Superman costume was to be a much darker blue, but the use of blue screen made it transparent.[38]

text: The first test for the flying sequences involved simply catapulting a crash test dummy out of a cannon. Another technique had a remote control cast of Superman flying around. Both were discarded due to lack of movement. High-quality, realistic-looking animation was tried, with speed trails added to make the effect more convincing.

text: As detailed in the Superman: The Movie DVD special effects documentary 'The Magic Behind The Cape', presented by optical effects supervisor Roy Field, in the end, three techniques were used to achieve the flying effects.

text: For landings and take-offs, wire flying riggings were devised and used. On location, these were suspended from tower cranes, whereas in the studio elaborate rigs were suspended from the studio ceilings. Some of the wire-flying work was quite audacious considering computer-controlled rigs were not then available — the penultimate shot where Superman flies out of the prison yard for example. Although stuntmen were used, Reeve did much of the work himself, and was suspended as high as 50 ft in the air. Counterweights and pulleys were typically used to achieve flying movement, rather than electronic or motorized devices. The thin wires used to suspend Reeve were typically removed from the film in post-production using rotoscope techniques, although this wasn't necessary in all shots (in certain lighting conditions or when Superman is very distant in the frame, the wires were more or less imperceptible).

text: For stationary shots where Superman is seen flying toward or away from the camera, blue screen matte techniques were used. Reeve would be photographed suspended against a blue screen. While a special device made his cape flap to give the illusion of movement, the actor himself would remain stationary (save for banking his body). Instead, the camera would use a mixture of long zoom-ins and zoom-outs and dolly in/dolly outs to cause him to become larger or smaller in the frame. The blue background would then be photochemically removed and Reeve's isolated image would be 'inserted' into a matted area of a background plate shot. The zoom-ins or zoom-outs would give the appearance of flying away or toward the contents of the background plate. The disparity in lighting and color between the matted image and the background plate, the occasional presence of black matte lines (where the matte area and the matted image – in this case Superman – do not exactly match up), and the slightly unconvincing impression of movement achieved through the use of zoom lenses is characteristic of these shots.

text: Where the shot is tracking with Superman as he flies (such as in the Superman and Lois Metropolis flying sequence), front projection was used. This involved photographing the actors suspended in front of a background image dimly projected from the front onto a special screen made by 3M that would reflect light back at many times the original intensity directly into a combined camera/projector. The result was a very clear and intense photographic reproduction of both the actors and the background plate, with far less image deterioration or lighting problems than occur with rear projection.

text: A technique was developed that combined the front projection effect with specially designed zoom lenses.[38] The illusion of movement was created by zooming in on Reeve while making the front projected image appear to recede. For scenes where Superman interacts with other people or objects while in flight, Reeve and actors were put in a variety of rigging equipment with careful lighting and photography.[38] This also led to the creation of the Zoptic system.[39]

text: The highly reflective costumes worn by the Kryptonians are made of the same 3M material used for the front projection screens and were the result of an accident during Superman flying tests. "We noticed the material lit up on its own," Donner explained. "We tore the material into tiny pieces and glued it on the costumes, designing a front projection effect for each camera. There was a little light on each camera, and it would project into a mirror, bounce out in front of the lens, hit the costume, [and] millions of little glass beads would light up and bring the image back into the camera."[22]

text: Music[edit]

text: Jerry Goldsmith, who scored Donner's The Omen, was originally set to compose Superman. Portions of Goldsmith's work from Capricorn One were used in Superman's teaser trailer. He dropped out over scheduling conflicts and John Williams was hired. Williams conducted the London Symphony Orchestra to record the soundtrack.[40] The music was one of the last pieces to come into place. Williams liked that the film did not take itself too seriously and that it had a theatrical camp feel to it.[10] Kidder was supposed to sing "Can You Read My Mind?," the lyrics to which were written by Leslie Bricusse, but Donner disliked it and changed it to a composition accompanied by a voiceover.[5] Maureen McGovern eventually recorded the single, "Can You Read My Mind?," in 1979, although the song did not appear on the film soundtrack. It became a mid-chart hit on the Billboard Hot 100 that year (#52), spending three weeks at number five on the U.S. Adult Contemporary chart, as well as making lesser appearances on the corresponding Canadian charts. It was also a very minor hit on the U.S. Country chart, reaching #93. The score earned John Williams an Academy Award nomination, but he lost to Giorgio Moroder's score for Midnight Express.[41]

text: 2000 Rhino Complete album[edit]

text:
[show]Disc One

No.
Title
Length

1.
"Prelude and Main Title March**"
5:30

2.
"The Planet Krypton**"
6:40

3.
"Destruction of Krypton**"
7:52

4.
"Star Ship Escapes*"
2:21

5.
"The Trip to Earth"
2:29

6.
"Growing Up**"
2:35

7.
"Death of Jonathan Kent*"
3:24

8.
"Leaving Home"
4:52

9.
"The Fortress of Solitude**"
9:18

10.
"Welcome to Metropolis*"
2:12

11.
"Lex Luthor's Lair**"
4:48

12.
"The Big Rescue*"
5:55

13.
"Super Crime Fighter**"
3:20

14.
"Super Rescues**"
2:14

15.
"Luthor's Luau (Source)*"
2:48

16.
"The Planet Krypton (Alternate)**"
4:25

17.
"Main Title March (Alternate)"
4:37

tag: table

text:
[show]Disc Two

No.
Title
Length

1.
"Superman March (Alternate)**"
3:49

2.
"The March of the Villains"
3:36

3.
"The Terrace*"
1:34

4.
"The Flying Sequence"
8:14

5.
"Lois and Clark*"
0:50

6.
"Crime of the Century*"
3:24

7.
"Sonic Greeting*"
2:22

8.
"Misguided Missiles and Kryptonite*"
3:27

9.
"Chasing Rockets**"
4:55

10.
"Superfeats**"
4:53

11.
"Super Dam and Finding Lois**"
5:11

12.
"Turning Back the World"
2:07

13.
"Finale and End Title March**"
5:42

14.
"Love Theme from Superman"
5:06

15.
"Can You Read My Mind (Alternate)*"
2:58

16.
"The Flying Sequence / Can You Read My Mind"
8:10

17.
"Can You Read My Mind (Alternate Instrumental)*"
2:57

18.
"Theme from Superman (Concert Version)"
4:24

text: Themes[edit]

text:
"You will travel far, my little Kal-El. But we will never leave you, even in the face of our deaths. The richness of our lives shall be yours. All that I have, all that I've learned, everything I feel—all this and more I bequeath you, my son. You will carry me inside you all the days of your life. You will make my strength your own, and see my life through your eyes, as your life will be seen through mine. The son becomes the father and the father the son. This is all I, all I can send you, Kal-El."

 – Jor-El

tag: div

text: Superman is divided into three basic sections, each having a distinct theme and visual style. The first segment, set on Krypton, is meant to be typical of science fiction films, but also lays the groundwork for an analogy that emerges in the relationship between Jor-El and Kal-El. The second segment, set in Smallville, is reminiscent of 1950s films, and its small-town atmosphere is meant to evoke a Norman Rockwell painting. The third (and largest) segment, set mostly in Metropolis, was an attempt to present the superhero story with as much realism as possible (what Donner called "verisimilitude"), relying on traditional cinematic drama and using only subtle humor instead of a campy approach.[5]

text: In each of the three acts, the mythic status of Superman is enhanced by events that recall the hero's journey (or monomyth) as described by Joseph Campbell. Each act has a discernible cycle of "call" and journey. The journey is from Krypton to Earth in the first act, from Smallville to the Fortress of Solitude in the second act, and then from Metropolis to the whole world in the third act.[42]

text: Many have noted the examples of apparent Christian symbolism. Donner, Tom Mankiewicz and Ilya Salkind have commented on the use of Christian references to discuss the themes of Superman.[5][10] Mankiewicz deliberately fostered analogies with Jor-El (God) and Kal-El (Jesus).[21] Donner is somewhat skeptical of Mankiewicz' actions, joking "I got enough death threats because of that."[5]

text: Several concepts and items of imagery have been used in Biblical comparisons. Jor-El casts out General Zod from Krypton, a parallel to the casting out of Satan from Heaven.[5] The spacecraft that brings Kal-El to Earth is in the form of a star (Star of Bethlehem). Kal-El comes to Jonathan and Martha Kent, who are unable to have children. Martha Kent states, "All these years how we've prayed and prayed that the good Lord would see fit to give us a child," which was compared to the Virgin Mary.[5]

text: Just as little is known about Jesus during his middle years, Clark travels into the wilderness to find out who he is and what he has to do. Jor-El says, "Live as one of them, Kal-El, to discover where your strength and power are needed. But always hold in your heart the pride of your special heritage. They can be a great people, Kal-El, and they wish to be. They only lack the light to show the way. For this reason above all, their capacity for good, I have sent them you, my only son."[5] The theme resembles the Biblical account of God sending his only son Jesus to Earth in hope for the good of mankind. More were seen when Donner was able to complete Superman II: The Richard Donner Cut, featuring the fall, resurrection and his battle with evil. Another vision was that of The Creation of Adam.[5]

text: The Christian imagery in the Reeve films has provoked comment on the Jewish origins of Superman. Rabbi Simcha Weinstein's book Up, Up and Oy Vey: How Jewish History, Culture and Values Shaped the Comic Book Superhero, says that Superman is both a pillar of society and one whose cape conceals a "nebbish", saying "He's a bumbling, nebbish Jewish stereotype. He's Woody Allen."[43][44] Ironically, it is also in the Reeve films that Clark Kent's persona has the greatest resemblance to Woody Allen, though his conscious model was Cary Grant's character in Bringing Up Baby. This same theme is pursued about 1940s superheroes generally in Disguised as Clark Kent: Jews, Comics, and the Creation of the Superhero by Danny Fingeroth.[43][44]

text: In the scene where Lois Lane interviews Superman on the balcony, Superman replies, "I never lie." Salkind felt this was an important point in the film, since Superman, living under his secret identity as Clark Kent, is "telling the biggest lie of all time." His romance with Lois also leads him to contradict Jor-El's orders to avoid altering human history, time traveling to save her from dying. Superman instead takes the advice of Jonathan Kent, his father on Earth.[10]

text: Release[edit]

text: Superman was originally scheduled to be released in June 1978, the 40th anniversary of Action Comics 1, which first introduced Superman, but the problems during filming pushed the film back by six months. Editor Stuart Baird reflected, "Filming was finished in October 1978 and it is a miracle we had the film released two months later. Big-budgeted films today tend to take six to eight months."[32] Donner, for his part, wished that he had "had another six months; I would have perfected a lot of things. But at some point, you've gotta turn the picture over."[23] Warner Bros. spent $7 million to market and promote the film.[18]

text: Superman premiered at the Uptown Theater in Washington, D.C. on December 10, 1978, with director Richard Donner and several cast members in attendance. Three days later, on December 13, it had a European Royal Charity Premiere at the Empire, Leicester Square in London in the presence of HM Queen Elizabeth II and Prince Andrew. It went on to gross $134.21 million in North America and $166 million internationally, totaling $300.21 million worldwide.[3] Superman was the second highest-grossing film of 1978 (behind only Grease), and became the sixth-highest-grossing film of all time after its theatrical run. It was also Warner Bros.' most successful film at the time.[32]

text: Critical reception[edit]

text: Based on 53 reviews and an average rating of 8/10 collected by Rotten Tomatoes, 93% of reviewers enjoyed Superman, with the consensus, "Superman deftly blends humor and gravitas, taking advantage of the perfectly cast Reeve to craft a loving, nostalgic tribute to an American pop culture icon."[45] By comparison, Metacritic collected an average score of 88, resulting in "universal acclaim", based on 12 reviews.[46] The film was widely regarded as one of top 10 films of 1978.[47][48][49] Superman creators Jerry Siegel and Joe Shuster gave a positive reaction.[14] Shuster was "delighted to see Superman on the screen. I got chills. Chris Reeve has just the right touch of humor. He really is Superman."[7]

text: Roger Ebert gave a very positive review. "Superman is a pure delight, a wondrous combination of all the old-fashioned things we never really get tired of: adventure and romance, heroes and villains, earthshaking special effects and wit. Reeve is perfectly cast in the role. Any poor choice would have ruined the film."[50] Ebert placed the film on his 10 best list of 1978.[51] He would later go on to place it on his "Great Movies" list.[52] James Berardinelli believed "there's no doubt that it's a flawed movie, but it's one of the most wonderfully entertaining flawed movies made during the 1970s. It's exactly what comic book fans hoped it would be. Perhaps most heartening of all, however, is the message at the end of the credits announcing the impending arrival of Superman II."[53] Harry Knowles is a longtime fan of the film, but was critical of elements that did not represent the Superman stories as seen in the comics.[54] Dave Kehr felt "the tone, style, and point of view change almost from shot to shot. This is the definitive corporate film. It is best when it takes itself seriously, worst when it takes the easy way out in giggly camp. When Lex Luthor enters the action, Hackman plays the arch-villain like a hairdresser left over from a TV skit."[55] Neal Gabler similarly felt that the film focused too much on shallow comedy. He also argued that the film should have adhered more to the spirit of Mario Puzo's original script, and referred to the first three Superman films collectively as "simply puffed-up TV episodes."[56]

text: Beyond theatrical release[edit]

text: The Salkinds prepared a three-hour-plus version for worldwide television reincorporating some 45 minutes of footage and music deleted from the theatrical cut, and specially prepared so that networks and stations can re-edit their own version at their discretion. ABC aired the broadcast television debut of Superman in 1982, with a majority of the unused footage. A syndicated version of the film aired in local television stations in Los Angeles and Washington, D.C. in the 1990s included two additional scenes never seen before, in addition to what had been previously reinstated.[8] When Michael Thau and Warner Home Video started working on a film restoration in 2000, some of the extra footage was not added because of poor visual effects. Thau felt "the pace of the film's storyline would be adversely affected [and there were] timing problems matching [footage] with John Williams' [sic] musical score, etc... The cut of the movie shown on KCOP was put together to make the movie longer when shown on TV as the Television Station paid per minute to air the movie. The "Special Edition" cut is designed for the best viewing experience in the true spirit of movie making."[57] There was a special test screening of the Special Edition in 2001 in Austin, Texas, on March 23 with plans for a possible wider theatrical release later that year, which did not occur.[58] In May 2001, Warner Home Video released the special edition on DVD.[59] Director Donner also assisted, working slightly over a year on the project. The release included making-of documentaries directed by Thau and eight minutes of restored footage.[60]

text: Thau explained, "I worked on Ladyhawke and that's how I really met Dick [Donner] and Tom Mankiewicz. I used to hear those wonderful stories in the cutting room that Tom and Dick and Stuart would tell about Superman and that's how I kind of got the ideas for the plots of 'Taking Flight' and 'Making Superman'".[60] Donner commented, "There are a few shots where Chris [Reeve]'s costume looked green. We went in and cleaned that up, bringing the color back to where it should be."[61] Thau wanted to make the film shorter: "I wanted to take out the damn poem where Lois is reciting a poem ["Can You Read My Mind"] when they're flying around. I also wanted to take out a lot of that car chase where it was just generic action... It was like a two minute car chase. But Dick didn't want to take [that] out [or] the poem."[60] It was followed by a box set release in the same month, containing "bare bones" editions of Superman II, Superman III and Superman IV: The Quest for Peace.[62] In November 2006, a four-disc special edition was released,[63] followed by an HD DVD release[64] and Blu-ray.[65] Also available (with other films) is the nine-disc "Christopher Reeve Superman Collection"[66] and the 14-disc "Superman Ultimate Collector's Edition."[67]

text: Broadcast television version details[edit]

text: When the rights to the first Superman film reverted to the Salkinds in 1981, it was their intention to prepare a television cut longer than what was released theatrically, for the aforementioned reasons. The so-called "Salkind International Extended Cut", which ended up running 3 hours, 8 minutes, was shown internationally on television, and it is from this cut that later domestic TV versions were derived.

text: The first network American television broadcast took place on Sunday, February 7 and Monday, February 8, 1982 on ABC.[68][69] The principal sponsor for the telecasts was Atari. At the time, ABC had a contract with Alexander Salkind for the television rights to his films. ABC's 3-hour-2-minute cut[70] of Superman was broadcast over the course of two nights.[71] On the first night it premiered, the film stopped when Lois Lane was falling from the helicopter (the picture froze, creating a cliffhanger-type of ending for part one[72]). The next evening, there was naturally a recap before the film continued.[73] This expanded version was repeated in November of the same year,[74] only this time, shown in one night.[71] The next two ABC showings after that were the original theatrical version. Apparently, in their contract with ABC, the Salkinds were able to get money for every minute of footage shown on TV.[57] So as a result, they crammed in as much footage as possible for the TV networks in order to maximize their revenues. During production of the film, Alexander and Ilya had been relegated to having to sell more and more of their rights back to Warner Bros. in exchange for financial help.[citation needed] Director Richard Donner was not consulted[71] on any of the extended versions. However, due to a clause in his contract, Donner's name remains in the credits.

text: Also as previously mentioned, some 40 minutes of footage were reinstated for the initial ABC-TV telecasts of the film.[71] Among the highlighted moments:

text:
A subplot of an Executioner (a Kryptonian security officer) being sent by the council to hunt down and capture Jor-El (while the beginning of the scene is shown in the 2000 director's cut restoration, the "payoff" [with him getting killed] is not in the latter version).
When Superman is trying to get to Lex Luthor's underground hideout, he is subjected to machine gun fire, a giant blow torch, and is frozen in ice. A tiny fraction of this footage was used in the theatrical version Superman II (directed by Richard Lester), in the scene where Superman's powers are stripped away by the molecule chamber in the Fortress of Solitude.
Lex Luthor plays the piano in several scenes; when he has Otis drop Eve Teschmacher into the lions' den at the end he is singing "You Must Have Been a Beautiful Baby."
After Superman saves Lois at the end and flies off, he's seen rescuing Eve Teschmacher from the lions' den, in which Lex had previously dropped her; he pointedly notes for Luthor to hear, "By the way, Miss Teschmacher, your mother sends her love," a reference to Luthor's boast about Hackensack, NJ.
The little girl who sees the teenage Clark Kent running faster than the train is revealed to be Lois Lane, a fact revealed when her parents (Kirk Alyn and Noel Neill) talk to her by name. This revelation scene is not present in the shorter theatrical release. Only in the ABC version are young Lois Lane and her father seen in the train. Also in the ABC version, Otis' walk down the street is longer.
Nearly all of John Williams' score is restored (some of which was dialed out of the theatrical cut).

text: However, at least one noticeable removal occurred: the recording of "Rock Around the Clock" by Bill Haley & His Comets, heard in the original film in the minutes before the death of Glenn Ford's character, is replaced with a generic piece of instrumental music in the ABC cut.

text: When the rights reverted to Warner Bros. in 1985, CBS aired the film one last time on network television in its theatrical version. When the movie entered the syndication[75] market in 1988 (following a play-out run on pay cable[71][76]) TV stations were offered the extended cut or the theatrical cut. The stations that showed the extended cut[71] edited the second half to squeeze in commercials and 'What happened yesterday flashbacks'.

text: In May 1994 (following a pay cable reissue and obligatory run on USA Network), Warner Bros. offered the aforementioned "Salkind International Extended Cut" (a 3-hour, 8-minute version, prepared by the Salkinds, and from which the ABC version was derived), which was shown in Los Angeles on KCOP.[71][77] This version also surfaced outside of Los Angeles. For example, WJLA Channel 7, an ABC affiliate out of Washington, D.C., aired the "Salkind International Extended Cut" in July 1994. Part one aired from 9:30 p.m. to 11:30 p.m. before breaking for its half-hour late newscast. Part two was then aired from 12:00 a.m. to 2:00 a.m.

text: The extended version has never been broadcast in the United Kingdom. The first showing of the theatrical version on UK television appeared on January 4, 1983 on ITV. In 1985, Ireland's RTÉ television aired the extended versions of Superman and Superman II in one night. The films ran from roughly 3:00 until 9:00, including the odd commercial and a break for the 6:00 news.

text: The quality of the extended network TV version is inferior to any theatrical or current home video release because it was mastered in 16mm (using the "film chain system") and a mono sound mix done, as by the time the extended cut was prepared in 1981, stereo was not available in television broadcasts. Eight of the 45 minutes of extended scenes that were used in the later 2000 director's cut restoration were taken from restored elements.

text: There are various extended TV versions each broadcast in various countries. Most of these are in pan and scan, as they were made in the 1980s, when films were not letterboxed to preserve the theatrical aspect ratio on old TVs. In September, 2017, the Warner Archive Collection announced a DVD and blu-ray release of the 188 minute extended cut.[78]

text: Legacy[edit]

text: Superman was nominated for three Academy Awards (Best Film Editing – (Stuart Baird), Best Original Score – (John Williams) and Best Sound – (Gordon K. McCallum, Graham V. Hartstone, Nicolas Le Messurier and Roy Charman))[79] and received a Special Achievement Academy Award for its visual effects. Donner publicly expressed disgust that production designer John Barry and cinematographer Geoffrey Unsworth had not been recognized by the Academy.[22]

text: Superman was successful at the 32nd British Academy Film Awards. Reeve won Best Newcomer, while Hackman, Unsworth, Barry and the sound designers earned nominations.[citation needed] The film won the Hugo Award for Best Dramatic Presentation.[citation needed] At the Saturn Awards, Kidder, Barry, John Williams and the visual effects department received awards, and the film won Best Science Fiction Film. Reeve, Hackman, Donner, Valerie Perrine and costume designer Yvonne Blake were nominated for their work as well.[citation needed] In addition, Williams was nominated at the 36th Golden Globe Awards and won the Grammy Award for Best Score Soundtrack for Visual Media.[citation needed] In 2007, the Visual Effects Society listed Superman as the 44th most influential use of visual effects of all time.[80] In 2008, Empire magazine named it the #174 greatest film of all-time on its list of 500.[81] In 2009, Entertainment Weekly ranked Superman 3rd on their list of The All-Time Coolest Heroes in Pop Culture.[82]

text: With the film's success, it was immediately decided to finish Superman II. Ilya and Alexander Salkind and Pierre Spengler did not ask Donner to return because Donner had criticized them during the film's publicity phase.[10] Donner commented in January 1979, "I'd work with Spengler again, but only on my terms. As long as he has nothing to say as the producer, and is just liaison between Alexander Salkind and his money, that's fine. If they don't want it on those terms, then they need to go out and find another director, it sure as shit ain't gonna be me."[23] Kidder, who portrayed Lois Lane, was dissatisfied by the producers' decision,[32] and also criticized the Salkinds during publicity. As a result, Kidder was only given a cameo appearance for Superman III, and not a main supporting role.[83] Jack O'Halloran, who portrayed Non, stated, "It was great to work with Donner. Richard Lester was as big an asshole as the Salkinds."[84] Two more films, Superman III (1983) and Superman IV: The Quest for Peace (1987), were produced. Superman Returns was released in 2006. Director Bryan Singer credited the 1978 Superman as an influence for Superman Returns, and used restored footage of Brando as Jor-El. Superman II: The Richard Donner Cut also was released in 2006.[33]

text: The film's final sequence, which features Superman flying high above the Earth at sunrise, and breaking the fourth wall to smile briefly at the camera, featured at the end of every Superman film starring Reeve and was re-shot with Brandon Routh for Superman Returns.

text: The series was rebooted with Man of Steel in 2013.

text: Because Superman went into production prior to the releases of Star Wars (May 1977) and Close Encounters of the Third Kind (November 1977), some observers credit the three films collectively for launching the reemergence of a large market for science fiction films in the 1980s. This is certainly the view of Superman producer Ilya Salkind and some who have interviewed him,[10][16] as well as of film production assistant Brad Lohan.[85] Other observers of film history tend to credit the resurgence of science fiction films simply to the Lucas and Spielberg productions, and see Superman as the first of the new cycle of films launched by the first two.[86] Ilya Salkind denies any connection between Superman—which began filming in March 1977—and the other films, stating that "I did not know about 'Star Wars'; 'Star Wars' did not know about 'Superman'; 'Close Encounters' did not know about 'Superman.' It really was completely independent – nobody knew anything about anybody."[16] Superman also established the superhero film genre as viable outside the production of low-budget Saturday matinee serials. Director Christopher Nolan cited Richard Donner's vision and scope of Superman when pitching the concept for Batman Begins to Warner Bros. in 2002.[87]

text: The movie inspired The Kinks' 1979 song "(Wish I Could Fly Like) Superman", when the band's main songwriter, Ray Davies, watched the film in late 1978.[88]

text: In 2006 the "Last Son" comic book story arc debuted in Action Comics, co-written by Superman director Richard Donner.[citation needed]

text: The film is recognized by American Film Institute in these lists:

text:
2003: AFI's 100 Years...100 Heroes & Villains:

Superman (Clark Kent) – #26 Hero[89]
Lex Luthor – Nominated Villain[90]

2004: AFI's 100 Years...100 Songs:

"Can You Read My Mind?" – Nominated[91]

2005: AFI's 100 Years...100 Movie Quotes:

Superman: "I'm here to fight for truth, justice, and the American way." – Nominated[92]

2005: AFI's 100 Years of Film Scores – Nominated[93]
2006: AFI's 100 Years...100 Cheers – Nominated[94]
2008: AFI's 10 Top 10:

Nominated Fantasy Film[95]

text: Comic book continuity[edit]

text: Elements of the Superman mythos which originated in the film have since been incorporated into the regular continuity of the DC Comics universe:

text:
The crystalline-based technology of the planet Krypton.,[96] along with the barren landscapes and cold, distant society.[97]
Superman's "S" logo originates as the El family crest.[citation needed]
Ursa and Non — characters created specifically for the film — are imprisoned in the Phantom Zone with General Zod.[98]
A computer-generated simulacrum of Jor-El survives in the Fortress of Solitude to advise his adult son Kal-El.[96]
Clark Kent commences his public superhero career as the adult Superman, rather than the teenage Superboy.[99] (This is also in keeping with the character's earliest incarnation, who also began his superhero career as an adult.)
Lois Lane first meets Superman when he rescues her as she falls from a disabled helicopter in Metropolis.[100]
Lois is the one who first names the hero "Superman."[101]
Jonathan Kent dies of a heart attack, but Martha survives as his widow.[102]
Although she is an excellent reporter, Lois frequently misspells words.[100]


document_title: That '70s Show (season 5)

question_text: when does kitty get a dog in that 70s show

text: That '70s Show (season 5)

text: Cast[edit]

text: Main[edit]

text:
Topher Grace as Eric Forman
Mila Kunis as Jackie Burkhart
Ashton Kutcher as Michael Kelso
Danny Masterson as Steven Hyde
Laura Prepon as Donna Pinciotti
Wilmer Valderrama as Fez
Debra Jo Rupp as Kitty Forman
Kurtwood Smith as Red Forman
Don Stark as Bob Pinciotti

text: Special guest appearance[edit]

text:
Tom Poston as Burt Sigurdson
Bobcat Goldthwait as Eli
Jim Gaffigan as Roy[a]
Samm Levine as Lance Crawford
Chilli as Hot Nurse

text: Special guest[edit]

text:
Jessica Simpson as Annette
Betty White as Beatrice Sigurdson
Seth Green as Mitch Miller
Fred Williard as Charlie

text: Special appearance[edit]

text: Lisa Robin Kelly as Laurie Forman

text: Recurring[edit]

text:
Mo Gaffney as Joanne
Joanna Canton as Nina
Jim Rash as Clerk

text: Guest[edit]

text:
Reid Scott as Ted
Jack Osbourne as Andy

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code

104
1
"Going to California"
David Trainer
Jeff Filgo & Jackie Filgo
September 17, 2002 (2002-09-17)
501

Desperately wanting to reveal his love for Donna, Eric disobeys his parents and heads to California to find her and Kelso. Kelso has an affair with Annette (Jessica Simpson), a blonde California girl. Meanwhile Jackie and Hyde become closer than ever before.

105
2
"I Can't Quit You, Baby"
David Trainer
Gregg Mettler
September 24, 2002 (2002-09-24)
502

As punishment for running away, Bob sends Donna to attend the Catholic school Our Lady of Perpetual Sorrow and Red takes away Eric's keys to the Vista Cruiser. To their surprise and disgust, Eric and Donna find out about the secret fling between Jackie and Hyde.

106
3
"What is and What Should Never Be"
David Trainer
Will Forte
October 29, 2002 (2002-10-29)
503

Red isn't too happy when Kitty announces she's pregnant, while Eric and Donna try to get Hyde to tell Kelso about his relationship with Jackie. Friendships may break after Kelso finds out about the relationship.

107
4
"Heartbreaker"
David Trainer
Kristin Newman
October 29, 2002 (2002-10-29)
504

Kitty's parents, Burt (Tom Poston) and Bea (Betty White), come for a visit to hear about her pregnancy, but Kitty has some news regarding it. Kelso must come to terms with Hyde and Jackie's new relationship.

108
5
"Ramble On"
David Trainer
Philip Stark
November 12, 2002 (2002-11-12)
505

Donna gives Eric a promise ring of her own, much to Eric's dislike for the ring's appearance. Fez applies for a job at the DMV, Hyde is bothered with Jackie's gossiping and Red must deal with Kitty's temper over the discovery of her menopause.

109
6
"Over the Hills and Far Away"
David Trainer
Bryan Moore & Chris Peterson
November 19, 2002 (2002-11-19)
506

Red and Kitty go with the guys on a weekend visit to UW–Madison, but Bob won't let Donna go with Eric. Jackie is afraid Hyde will cheat on her while he is at Madison.

110
7
"Hot Dog"
David Trainer
Rob des Hotel
November 26, 2002 (2002-11-26)
507

Eric buys Donna the most unexpected present and decides to ask her a question that could change their lives, but the rest of the gang disowns him for even thinking of doing such a thing. Red buys a new dog, Schatzi, to keep Kitty company.

111
8
"Thank You"
David Trainer
Dean Batali
December 3, 2002 (2002-12-03)
508

It's Thanksgiving, and to keep Red from finding out about his failing math grade, Eric forges his signature on a failing notice, and he and Donna decide to reveal their engagement during dinner. Laurie (Lisa Robin Kelly) returns home after a long absence.

112
9
"Black Dog"
David Trainer
Mark Hudis
December 10, 2002 (2002-12-10)
509

Jackie's father gets arrested for bribery, but Hyde doesn't know how to respond to her. Kelso accidentally shoots Hyde with a BB gun in the eye and Fez tries to gain some affection from his new boss, Nina. Meanwhile, Eric, Donna, Red and Kitty have a disagreement over comforting loved ones.

113
10
"The Crunge"
David Trainer
Dave Schiff
December 17, 2002 (2002-12-17)
510

Eric gets an unsatisfactory score on his SATs and wants to retake the tests, to prove he's worthy of marrying Donna. Jackie thinks Hyde's SAT score will bring the two of them fortune, while Kelso flaunts his score around.

114
11
"The Girl I Love"[b]
David Trainer
Gregg Mettler
January 7, 2003 (2003-01-07)
511

Fez introduces Nina to the gang, and Kitty invites them to a dinner party, but the guys and Red want to spend time doing other things.

115
12
"Misty Mountain Hop"
David Trainer
Dave Schiff
January 22, 2003 (2003-01-22)
516

Jackie asks the Formans to help clean out her family's ski cabin, after the bank forecloses it, while Hyde convinces Kelso and Fez to go party all weekend at a particular place. Eric wants to do new romantic things with Donna, but it doesn't go as planned for both of them.

116
13
"Your Time Is Gonna Come"
David Trainer
Jackie Filgo & Jeff Filgo & Will Forte
January 29, 2003 (2003-01-29)
514

Kelso's girlfriend from California, Annette (Jessica Simpson), comes to visit, and when Jackie angrily tells her "Get your hands off my boyfriend!" Hyde hears her and looks furious. Kitty's parents also arrive, bearing bad news, and tragedy strikes, as a member of the Forman family ends up in the hospital, or worse. Character Death: Burt Sigurdson

117
14
"Babe I'm Gonna Leave You"
David Trainer
Kristin Newman
February 5, 2003 (2003-02-05)
515

Jackie first tells Hyde that she's not responsible for what she says and has to get over it; he shocks her by saying "I'm over it...in fact, I'm over YOU" and leaves her in tears as she realizes he's broken up with her. She later tries to sincerely apologize and tells Hyde she loves him. On Valentine's Day and Annette forces Kelso to get rid of Jackie, or else she'll break up with him. Meanwhile, Kitty's mother, Bea, is giving her and Donna a tough time.

118
15
"When the Levee Breaks"
David Trainer
Dean Batali
February 12, 2003 (2003-02-12)
512

Eric and Donna use her house to practice being a married couple while Bob is out of town, but it doesn't go so well. Meanwhile, their friends are angry at them for not letting them throw a party at Donna's and Kitty buys Hyde an embarrassing jacket.

119
16
"Whole Lotta Love"
David Trainer
Philip Stark
February 19, 2003 (2003-02-19)
513

After Eric reveals his engagement to Red, he gives Eric the silent treatment and undermines his future, in order to call it off. Kelso gives Jackie a birthday gift, with ulterior motives, and Fez finally loses his virginity to Nina.

120
17
"The Battle of Evermore"
David Trainer
Rob des Hotel
February 26, 2003 (2003-02-26)
517

Kitty signs Red and Eric up for a jamboree to help patch up their relationship, while Hyde, Fez, Jackie and Kelso search for an absent Leo.

121
18
"Hey, Hey, What Can I Do?"
David Trainer
Mark Hudis
March 12, 2003 (2003-03-12)
518

The gang goes to a job fair, as Eric needs money to pay for his college tuition. Hyde is reluctant to get a job, until an old acquaintance of his offers him a position. Kelso chooses a future job no one else from the gang likes.

122
19
"Bring It On Home"
David Trainer
Chris Peterson & Bryan Moore
March 26, 2003 (2003-03-26)
519

The Formans discover Jackie has been sleeping in their basement with Hyde, and Bob volunteers to have Jackie over at his place, much to Donna's dismay. Fez realizes Nina is reluctant to introduce him to her family.

123
20
"No Quarter"
David Trainer
Dean Batali
April 2, 2003 (2003-04-02)
520

Jackie moves in with Bob and Donna, but the things she does in the Pinciotti house don't go down well with Donna. Eric has to pay for Donna's engagement ring with Red taking all his money from him on purpose, and Fez meets someone he knows and hates.

124
21
"Trampled Under Foot"
David Trainer
Philip Stark
April 9, 2003 (2003-04-09)
521

Nina breaks up with Fez because he is "too needy". After realizing they have nothing to talk about anymore, the gang decide to add another member to their group, but don't know whom to invite. Kitty uses their situation to her advantage, only to discover how bad her candidate for a new member is.

125
22
"You Shook Me"
David Trainer
Kristin Newman
April 16, 2003 (2003-04-16)
522

Fez has an erotic dream about a certain member of the gang, which greatly disturbs him. Kelso questions his own sexuality after hearing about Fez's dream, leading him to seek comfort in Jackie. Joanne offers Eric a job at a local dog food factory.

126
23
"Nobody's Fault But Mine"
David Trainer
Mark Hudis
April 23, 2003 (2003-04-23)
523

Hyde is caught with another woman, as revenge for seeing Jackie with Kelso. Red hastens Eric and Donna's wedding day, until Laurie, who has returned home, offers an alternative for the couple to get out of the situation.

127
24
"Immigrant Song"
David Trainer
Rob des Hotel
May 7, 2003 (2003-05-07)
524

Red takes a day off to think of Eric and Donna's plan to move away to Madison, Hyde and Kelso continue to bicker about one another over Jackie, and a certain prank could result in Fez's deportation. Kelso falls off the water tower (again).

128
25
"Celebration Day"
David Trainer
Gregg Mettler
May 14, 2003 (2003-05-14)
525

The gang goes camping the night before their high school graduation. Jackie decides to let Hyde and Kelso fight it out over her, to see who she'll choose in the end, and as Eric and Donna get ready to leave Point Place, some shocking news will be too much for a certain person to handle, both emotionally and physically.

text: Notes[edit]

text:
Jump up ^ Also guest starred for one episode.
Jump up ^ This episode's name is a shortening of the Led Zeppelin song "The Girl I Love She Got Long Black Wavy Hair".

tag: ol