Sidney Lumet's 1982 film version of Ira Levin's Deathtrap introduced a major element that was absent from the original stage play: a kiss between Michael Caine's aging playwright, Sidney Bruhl, and Christopher Reeve's young protégé, Clifford Anderson. The kiss arrived as part of the film's elaborate succession of reversals, when the apparent murder plot suddenly revealed a sexual and criminal partnership between the two men. For contemporary audiences, the moment collided with Reeve's exceptionally wholesome public image as Superman, making the reaction especially loud and memorable. According to gay film historian Vito Russo's account in The Celluloid Closet, Reeve said that preview screenings in Denver produced boos when the kiss appeared. Russo also reported Reeve's estimate that a Time magazine story publicizing the kiss gave away a crucial plot development and cost the picture approximately $10 million in ticket sales. That precise financial figure is an actor's retrospective estimate rather than a figure independently established by the studio, but the controversy itself is well documented as part of the film's reception. Later commentary, including Jordan Schildcrout's Murder Most Queer, preserved the era's startled response: at one screening, an audience member reportedly shouted, "No, Superman, don't do it!" when Caine and Reeve kissed. Deathtrap ultimately earned more than $19 million, so the episode did not destroy the release, but it exposed how strongly Reeve's superhero persona shaped audience expectations and how openly homophobic or discomforted some mainstream viewers remained toward male-male intimacy in early-1980s commercial cinema.
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