X-Men: First Class Film and Score Review

By: Arlene R. Weiss

X-Men First Class Score

Though the title of this prequel motion picture refers to the iconic mutants of the Marvel Comics®, when they were still budding youths just discovering their special gifted abilities and first finding their destined paths in the world, the title more than aptly describes this superb motion picture installment in the beloved film series.

Director, story co-writer Bryan Singer lovingly crafted the blockbuster success of the first two films in the franchise, hits X-Men and X2: X-Men United, with far reaching aspirations and much critical acclaim, raising the bar and setting a pinnacle standard of excellence for the superhero film phenomenon.

Singer’s deft touch was greatly missed without him on board to helm X-Men: The Last Stand and X-Men Origins: Wolverine. Both lackluster films suffered through weak and muddled direction along with a disastrous focus on comic relief and camp cheesiness that threatened to derail the franchise.

Now Bryan Singer is back, this time as producer, and thankfully once more co-writing the story with Director Matthew Vaughn directing. The result is this spirited, resolute, purposeful reboot, which is first class all the way.

Director Vaughn reinvigorates, recharges, and breathes new life into the series with writing that emphasizes inspired character driven, breathtaking action, detailed and complex character development, and a storyline of immense social commentary, meaning, and often dark, emotional depth and gravitas.

Set in the early 1960’s during the Cuban Missile Crisis and the Kennedy years, we come to learn how young mutants, Charles Xavier (James McAvoy), who will become Professor X, leader of the humane “X-Men,” and Erik Lehnsherr (Michael Fassbender), who will become the militant Magneto, leader of The Brotherhood Of Mutants, first meet and forge a deep friendship and admiration for one another.

That connection extends to their mutually valiant recruitment and mentoring of a crack team of unseasoned super powered mutant youths who then must avert a nuclear war engineered by the evil megalomaniacal Sebastian Shaw (Kevin Bacon), thus saving mankind.

Ironically, the very human race that the mutants race to save, turn on them, persecuting them and attempting genocide on their mutant protectors, blinded by their own ignorance, intolerance, and prejudice.

Within this conundrum we witness the deep fracture in this seemingly unbreakable bond between Charles and Erik, whose intense relationship and moral stance was directly inspired by The Reverend Dr. Martin Luther King, Jr. and Malcolm X. Charles idealistically believes that through understanding and compassion, mankind and mutants can peacefully co-exist. Erik, a Holocaust survivor, who suffered unspeakable atrocities at the hands of the Nazis, is on a bloodlust crusade for revenge against all of mankind.

McAvoy and Fassbender effortlessly step into the roles originated by the illustrious Sir Patrick Stewart and Sir Ian McKellen with remarkable grace and luminous originality, creating and putting their own, unique and sterling stamp on their characters. Making them their own, with each calling forth determined resolve, great moral integrity, and thought provoking courage of conviction in their struggle to gain tolerance and social acceptance from a narrow minded, intolerant, and unfoundedly fearful mankind towards mutants, while instilling mutant pride in their young wards.

Jennifer Lawrence as Raven, aka Mystique, and Nicholas Hoult as the infectiously likable Dr. Hank McCoy, aka Beast, light up the screen as young mutants flirting with first love yet also deeply conflicted about whether or not their outward mutant appearance and origins should look “normal” among human society.

The film strikes a wonderful chord in at last introducing to the silver screen, the fresh faced youth ensemble of stalwart superhero characters that have given the “X-Men” comics such adored longevity with fans and in popular culture, all played exuberantly by a sparkling cast of newcomers. Sean Cassidy/Banshee (Caleb Landry Jones), Alex Summers/Havok (Lucas Till) Angel Salvadore (Zoe Kravitz), Emma Frost/White Queen (January Jones) and Charles’ ally and love interest, CIA Agent Moira MacTaggert (Rose Byrne) all firmly take their first, youthful place in the film franchise adaptation of “X-Men” lore, as well as being welcome, integral characters.

Elevating and coloring the film with rich, vibrant hues, is the tremendous score composed by Henry Jackman. If that name rings a more rock related resonant bell, Jackman is the son of keyboardist and arranger Andrew Pryce Jackman of the band, The Syn. Andrew has also often collaborated with Chris Squire of the progressive rock band Yes. Henry’s credentials also tie in admirably with Squire, having collaborated with members of the band Spock’s Beard, in a one off performance backing Squire in August 2006.

Epic in scope, Jackman’s score is imbued with prodigious and grand orchestral swells, sweeping and majestic fanfares, lush marches and pageantries, and triumphant, heroic flourishes that dramatically and faithfully, serve, voice and compellingly convey the emotional tenderness, complexities, and anguish of the film.

Jackman’s rock roots shine through and illuminate his supreme score by virtue of his implementation of stinging guitars which are beautifully layered and textured over his symphonic string and orchestral arrangements, on three centerpiece themes.

Erik has his own particularly intriguing, suspenseful theme. A delectable, reverbed, tuned down, guitar echoing twang that recalls the James Bond films’ theme which was composed by Monty Norman and was played by guitarist extraordinaire, Vic Flick. Erik’s theme is evocative of early ‘60s club, acid-house lounge music straight out of the spy films of the cold war era.

Charles and his young charges have two signature guitar-driven themes. One which contains crunching, effects laden surround sound within orchestra, and the other, imbued with lyrical, melodic, understated voicings on guitar.

Special effects wizard, John Dykstra’s breathtaking and mesmerizing effects color and texture the film, but are refreshingly restrained to not only emphasize the characters, but also to keep the spotlight on the film’s sparkling, cool and stylish retro look and set design that evokes a wonderful period feel, dropping one right into the hip, mod, and “groovy” ‘60s, as Charles charmingly enjoys coining with aplomb when courting the ladies in his dashing moments. John Mathieson’s stunning cinematography highlights the spectacular and beautiful international locales that drive the feel of the movie as the action jumps from one nation and continent to yet another with heart stopping breathlessness.

“X-Men: First Class” fabulously feels, at times, more like a sophisticated, witty, and intelligent espionage film, rather than a superhero film, owing to its distinct period look and feel and often somber, introspective mood, much in the same vein as the James Bond films and the early ‘60s spy and thriller movies directed by the legendary Martin Ritt and Alfred Hitchcock, notably Ritt’s The Spy Who Came In From The Cold and Hitchcock’s Torn Curtain.

The film’s dazzling split screen edits and Main Titles by Prologue Films and its gorgeous, eye popping end titles by the same company, evoke the atmospheric credit title sequences of the influential title sequence of the great Otto Preminger’s The Man With The Golden Arm.

The only flaw with this otherwise spectacular film is the appallingly derogatory and misogynist portrayal of women. Literally every female character, including all of the women mutants and CIA Agent Moira MacTaggert, are reduced to lingerie clad sexual objects who seduce, get seduced, or in the case of Emma Frost, “fetch ice” for Shaw’s drink. All the female mutant heroes defect from Charles to the “dark side” of either Shaw or Erik. Even MacTaggert allows herself to be brainwashed clean of all vital information by Charles after she swoons from his kiss, prompting the CIA Director to utter to her and his fellow agents in a meeting, “This is why we don’t have women in the CIA.” Note to Singer, not funny and highly offensive.

What happened to the strong, courageous, and intelligent heroism of X-Women, Storm, Rogue, and Kitty Pride in the first three “X-Men” films? I sincerely hope this isn’t a downward trend and that Singer brings back the exciting, resilient, stalwart “X-Women” role models of the previous films.

Save for this one misstep, X-Men: First Class exceeds and triumphs with its intelligent, informed, and striking attention to outstanding storytelling, profound narratives, and unforgettable, emotionally driven characters who inhabit and are embraced by, our hearts and minds.