Lovely and imperious, the headdresses are also emblems of the countervailing forces that have led to the ruin of Krypton, a civilization undone by its own advances. These graceful contours are further picked up in spaceships that float like jellyfish and in suits of armor that evoke crustaceans, adding to this alien world’s striking conceptual unity. It’s a measure of the film’s striking design here that the headdress latticework is echoed in some of the pleated clothing, as well as in the curvilinear buildings, suggesting that someone behind the scenes (the production designer is Alex McDowell) is an admirer of the architect Zaha Hadid and her flowing organic forms. Crowe) attempts to persuade its council, wearing dour expressions and ornate headdresses evocative of Gothic tracery, that their planet is doomed. To that end, the film begins at the beginning, back on Krypton where Jor-El (Mr. Nolan that extracts the canonical account from 75 years of seemingly infinitely layered supermythology. Goyer from a story that he created with Mr. He does all that in “Man of Steel,” which was written by David S.
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