X-Men: First Class

I left the cinema after seeing X-Men: First Class in a surprisingly good mood.  I have always loved the X-Men films, for their more thoughtful take on a superhero franchise, but I did not have high expectations for the latest instalment.  The trailer looked good, too good in fact, its slick construction making me worry that the film itself would prove a gimmicky, clean cut, Hollywood action movie.  And furthermore, prequels are always dangerous territory, for how do you invest in a film when you know what is going to happen?

As stated, however, I thoroughly enjoyed the film, and I believe it to be because of the brilliantly written and acted out characters, and the clever decision to situate the story alongside the Cuban Missile Crisis.

The film focuses on the relationship between Charles Xavier (Professor X) and Eric Lensherr (Magneto) years before the X-Men films, in which they have opposite aims for the Mutants.(Played by the very able James McAvoy and Michael Fassbender.)  Seeing as we know that their amicable relationship in this film will break, the only way to make the audience truly connect to the film is to really slow the film down and explore this relationship.  As individuals, Charles comes from a privileged background, has a mutation that is easily hidden and so hopes for a future that will involve peace between mutants and humans.  We see Eric, on the other hand, suffering from the brutalities inflicted on him in a Nazi concentration camp and, while he too can hide his mutation, he fully recognises and advocates the difference between mutants and humankind.  Both are thus flawed, for Charles can, at times, pursue a naïve approach and can downplay the difference that most mutants have to battle with, whereas Eric’s views verge very close (ironically) to the type of select idealism the Nazis strived for.  The audience, although aware of Charles’ innate goodness, at times wish to shake him out of complacency and make him open his eyes. The more affecting character is Eric, played brilliantly by Michael Fassbender: the audience shares his agony and realise that there is no such thing as pure evil, only circumstance, as they watch the anger and pain in Eric turn him into Magneto.  A relationship that is thus built on Charles’ endeavour to help Eric, and one made out of mutual respect, can only make the audience painfully wish for an alternative.

With such an intense relationship, and the abundant number of other mutants who enter the film, it is easy to see why some criticism of the film has focused on how such abundance prevents character identification.  I think this is true, as we only briefly get to know many of the mutants, (although Raven and Beast are notable exceptions) but I think the above relationship is enough for the film. Furthermore, I think any X-Men fan will get a kick out of seeing such exciting powers used in the action sequences throughout the film.

Another criticism of the film is that it may be getting a bit boring to watch numerous mutants struggle with being different; a valid point, as everyone I know would love to have a mutant power.  Again, however, we come back to the issue of the prequel, for the franchise cannot suddenly change themes when the events of this film precede the others, a fact that actually makes for even more antagonism on the mutant issue.   I think the director and the writers have circumvented this problem, however, by situating the events within the Cuban Missile Crisis, a time of uncertainty and fear of difference, a fear of spies, and an era on the brink of war.  The ‘mutant problem’ is only an extension of the issues seen in the 60’s, another of which, I think comes through, is that of women.  Throughout the film, women are spoken down to, degraded, seen as less valued than men. It is subtle, but we sense here also an era on the brink of change, of something about to explode.  By setting the story within a historical context, allowing ‘what if?’ questions and entailing different (historical) stories altogether (which once again circumvents the prequel problem), the director can use the ‘mutant problem’ as a reflection of the times.  This does not mean that such issues are not paramount to any society; they are, but the director has achieved within this film a more fuller and comprehensive look at such issues, rather than vague abstractions.

X-Men is undoubtedly a big budget superhero film: the sets are big and expansive, ranging from Nazi concentration camps, to Vegas casinos, to air and sea battles; the mutants powers are awe inspiring, jaw-dropping, everything you’d expect from Marvel; there is sufficient humour as well and a powerful soundtrack.  Yet, I think what makes this film endearing, and what other superhero films lack, is its deft and subtle exploration of character and context, making the audience react not only to big budget special effects but to the mutants themselves.

Roisin O’Brien