Mad-Mutants: My Review of X-Men First Class

It's fitting that X-Men, First Class takes place in the 1960's. A period known for civil-unrest, the sixties saw our nation tackle race, sexuality, free-love, war, drug use, and loss of the innocence of the decade prior. So too does 'First Class' portray mutants in a similar light. Most folks who'er unfamiliar with comics see the X-Men as a simple super-powered bunch of do-gooders, but the birth of the comic was actually in response to all the changes the 60's carried with them. That the the early X-Men comics came out during the civil-rights movement is no coincidence. Marvel comics typically tackle social issues through its characters, and the X-men are the strongest example of that theme. More than anything else, the X-Men embody mankind's paranoia of the different, violence in the face of change, and hatred of what we don't understand.

Before discussing 'First Class', let's lay some groundwork. The first three 'X-Men' films took place in modern day, and like all comics, kept its characters in sync with the times. 'First Class' follows along with the continuity of that first film trio, acting essentially as a prequel. The movie's title describes how these are the very first X-Men. Problem: the original group of X-Men - Cyclops, Jean Grey, Beast, Ice Man, and Angel - can't serve as the first class in, well 'First Class'. In this line of continuity, Prof. X and Magneto are in their 20's, and most of the X-Men named above aren't even born yet. Remember, we're in the 60's here. So, this film is forced to tweak the canon comics storyline a bit. While irksome, it's an unavoidable change.

While the film's name 'First Class' points to a student coming-of-age story, the movie is really about the growth of Charles Xavier and Erik Lensherr into the more well-known Prof. X, leader of the X-Men, and Magneto, classic X-Antagonist. Both are mutants, people born with unique abilities beyond human comprehension. The film starts with their childhoods - one pampered, the other persecuted - and follows their lives, friendship, and eventual split as partners. Prof. X and Magneto are often compared to Dr. Martin Luther King Jr. and Malcolm X; Xavier feels that mutants can live in peace with humanity, Erik beliefs equal-treatment for mutants will only come via force. Xavier believes mutants are another beautiful step in mankind's evolution, a step Erik sees as a superior one.

"We have it in us to be the better men", Charles argues with Erik.

Erik's reply: "We already are the better men."

Xavier, played with wonderful warmth and naivete by James Mcavoy, can use his powerful telepathy to read the minds of those around him. We meet him in college, where he uses his powers much in the same way many of us would: to pick up coeds. When you first see this portrayal of Xavier, you're shocked. Prof. X has always been shown as the stalwart, wise mentor of the X-Men. To see a swaggering young Xavier use his power for personal enjoyment seems in contrast to the character, but it's important to illustrate that he's inexperienced and hopelessly idealistic. Idealism is one of the most important character-traits of Charles Xavier. After all, his main dream is world peace between man and mutant. But at this early point in his life, that idealism is blind, and it winds up getting people hurt. Of course, such calamity happens to be the rough lessons that turn Xavier from cocky grad student to wise teacher, and watching how he's changed by the consequences of his inexperience is fascinating. Mcavoy does a tough job of blending youthful bravado (underscored with doubt) with a strong ambition.

Erik Lensherr's life takes him down a very different path. We meet Erik as a young boy imprisoned in a concentration camp. The first manifestation of his magnetic-abilities occurs in response to the forced separation from his parents. The nazi scientist who later becomes the villainous Sebastian Shaw, played with sleazy class by Kevin Bacon, takes interest in the young mutant's powers. Erik becomes his lab rat. Upon growing up and escaping the camp, the adult Erik spends his time traveling Europe hunting down Nazi war criminals in hiding. The execution of his former captives is James Bond-like and brutal in it's slickness. Erik doesn't need a gun. He's more than capable of turning knives, bullets, and in one nerve-tweaking scene, mental dental fillings against their owners.

As the man who becomes Magneto, Michael Fassbender imbues Erik with a torturer intensity and businesslike sense of realism. He wants the opposite of Xavier. He wants justice. He wants to be vindicated. And above all else, he wants to ensure that 'his people' (referring to mutants, but the link to innocent Jews killed in the holocaust in there, too) are never targeted by 'those under orders' ever again. Fassbender's Erik enacts revenge coldly, but shows a wounded interior. He doesn't enjoy the violence, but is so angry that it consumes his life. Tragically.

While the individual roles of Mcavoy and Fassbender are spectacular, their interaction and friendship drives the film. Both want acceptance for mutants, but have such varying background and experiences that their methods cause ample conflict. The writers also make wonderfully subtle use of their powers in ways that deepen the characters. One such example is a tear-jerking scene where Xavier looks deep into Erik's dark past and recalls for the man a forgotten childhood memory. I won't spoil the specifics, but the memory is human, raw, and tremendously moving.

Another standout was Jennifer Lawrence as Mystique, a shape-shifter who can appear however she'd like, but has a scaly-blue appearance in her natural state. She grows up alongside Xavier, practically a sister, but partially resents Xavier's 'all up-side' ability. While Charles can walk the streets without people knowing he's a mutant, Mystique must constantly concentrate on looking human in order to look human. Erik sums up her predicament wonderfully: "If you're always concentrating on maintaining your appearance, than you're only half-concentrating on whatever else you're doing." Lawrence's take on Mystique is a refreshing take from the Mystique of the first three X-Men movies, who was more silent shape-changing badass than she was a three-dimensional character. Lawrence plays Mystique as vulnerable, ashamed, but good-at-heart. She understands the need for mutant equality, but is far less optimistic about it happening than Charles. And who can blame her? When, late in the film, she's given the chance to change her true-blue nature by Beast, another mutant with a unique physical build, she turns him down. Her character arc is one about accepting yourself.

I understand I've not spoken much about the plot of the film, but in order to understand the storyline, it's important to understand the characters. Many superheroes are imbued with pathos, but the X-Men are practically famous for it. Aside from Shaw, there are few all-good or all-bad characters in this movie. Instead, there are people: imperfect, well-intentioned, but prone to mistakes and anger.

At their heart, the X-Men are about understanding what makes us human, and 'X-Men: First Class' illustrates that point artfully. There is great action, but don't expect an action film. This is far more positioned on the drama side than the explode-everything-with-CGI side of the film-making fence. The result is a movie where you care about the characters, which in my opinion, is the most important task a movie must accomplish. If I couldn't care less about a character's plight, why should I bother becoming invested in the story? With 'X-Men: First Class', I cared about every character, even the minor ones, because they were all given the respect they deserved. Costumes and powers aside, it all comes down to personal, human struggle. That's the X-Men.