“X-Men: First Class” Flunkies

Of all the X-men installments from the movie franchise, hands down “X-Men First Class” is its star pupil. It has all the components: vengeance, thrilling action scenes that don’t try to bombard you with all the latest special effects, and quality actors that transform these original 2-D comic book characters into fleshy, multi-faceted beings (well, to be fair only the key players are well constructed while minor roles rest easy on caricatures).

There are plenty of reviews that, following the train of thought aforementioned, and will rave on and on about “First Class”, but unfortunately this in not one of them. My rave ends here: it was entertaining. My rant starts here: In its attempts to “creatively” borrow messages of tolerance, equity and racial (race and mutant are interchangeable) justice X-Men: First Class made a mockery of the very movements it was undoubtedly inspired by.

It’s common knowledge that comic book and sci-fi genres are often are laced with social commentary (Godzilla and nuclear war, Tron and religion/creation myths, Captain America as WWII propaganda, Spiderman and poverty…) and X-men is no exception. However, when addressing social issues in fantasy-esque genres there needs to be a balancing act of sorts; on one hand it must appeal to the greater public by drawing just enough parallels between the fantastic world created and legitimate (but universal) conflicts that arise in our existence that go beyond the simple good vs. evil models, i.e. intolerance, discrimination, identity politics, classism, oppression etc. BUT without being too obvious. Subtly referencing universal themes of intolerance goes a long way if your attempt is to ENGAGE, introduce and coax people into approaching a topic they would otherwise deal with peripherally and if that isn’t your goal it still is a good rule of thumb to follow because by ripping off history you risk mocking it.

Now, if you are going to tackle issues like racism, and make incessant references to both the civil rights, and black power movements like First Class definitely did, then the least you can do is a) make sure your cast is not predominantly white b) do not use blue people to symbolize black people (it didn’t work in Avatar) and c) have one of the only mutants of color killed off only seconds after he was introduced.

–SPOILER ALERT– if you haven’t seen the movie yet you may not want to continue reading but really any scenes described in detail don’t really take away from from the plot….it just isn’t that complicated of a story. To prevent tangents and spare you a terribly long read I’m just going to bullet point some of the main grievances:

On the blue people: The one mutant who seemingly has it the toughest as far as being ostracized from society is Mystique. Unlike her peers who have powers of telepathy, can fly, scream sonic waves, or bend metal with their minds, Mystique’s mutation cannot be hidden so easily. Mystique’s natural form is that of woman with scaly electric blue skin, and textured fire red hair but throughout the movie you see her effectively choosing to keep her true self hidden not only from human beings but also from mutants. After “passing” for normal–normal mind you is represented in the form of a voluptuous white woman with long blonde tresses who eerily resembles a Shirley Temple doll– for the two thirds of the film Mystique goes through some identity-searching with the help of three mutant men (because who better to assess inner and outer beauty than men) who are supposed to represent three possible ways to grapple with the standards of beauty set by mainstream society.

Hank or the Beast (the other blue person) suffers from internalized mutantism, so ashamed of his own physical deformities–he had really gnarly toes that were only a tad worse than some dance feet I’ve come across — he advocates that she go under-the-needle to fix her blue hue, Magneto touts “blue-is-beautiful” type rhetoric, while Charles Xavier’s advice is a medium of the two–the world just ain’t ready for a blue buxom yet. My takeaway: I want to cheer for Mystique when she finally embraces her blue skin and tells Hank the Beast (who ends up aggravating his foot condition and hence becomes a blue beast) to accept his big beautiful blue-self but there is no way in hell I am going to sympathize with a white woman in blue makeup ripping off phrases like “Black is Beautiful” and “Black Power” from the Black Power movement.

Lack of Black actors: So I may have miscounted but I believe in total there were four black actors in X-Men First Class. Two were mutants with speaking lines; Darwin played by Edi Gathegi and Angel played by Zoe Kravitz, the other two were extras (a prostitute and a valet). The lopsided casting upset me, but did not shock me–check racebending.com for latest H-Wood eff-ups on casting. What did have me throwing my hands and yelling “What the hell?” in the theater was what they did with the few actors of color casted in the film. In one scene the main antagonist Sebastian Shaw, a Nazi mutant hell-bent on exterminating the human race tries to persuade the young mutants to join his legion by telling them that if they can either accept him as their leader and rule the post-apocalyptic world he has envisioned once humans nuke the crap out of each other, or they can choose to be “enslaved.” On words “enslaved” there is immediate cut away from Shaw and a close up of who else but black mutant, Darwin.

The philanthropic rich guy: I know you’re supposed to really like Charles Xavier preachy non-violence schtick, because it is supposed to represent the late Rev. Martin Luther King, but the excess of wealth at his disposal for me seems to discredit whatever “struggle” he goes through being a mutant that is supposed to resonate with people of color. Martin Luther King Jr. when compared to Malcolm X had an “easier” life, but it was by any means not easy. Unlike MLK, Xavier is not black (or its equivalent in the Marvel universe, blue), nor are his powers whether they are activated or not easily discerned which unlike the other mutants makes him invulnerable to persecution. Secondly unlike MLK, Xavier is filthy rich offering another layer of privilege and protection. The fact that he gives so willingly doesn’t make me like him more, but instead I resent him because it rings of a paternalistic sentiment–and for real, when in the real world do rich people so free of greed give up so much, and without a tax write-off? When Xavier is contrasted to the more militant “by any means necessary” Magneto, the comparison leads me to deduce that altruism is a luxury afforded to the rich only. If you are victimized by oppression so horrifying like lets say slavery, or in this movie’s case the Holocaust, then you are bound to repeat the very offenses that violated your human rights. Surely themes of the oppressed-turn-oppressor can be validated through example of history but nearly all the mutants who have truly been “victimized” by society (the fairy mutant: stripper, Magneto: Holocaust survivor, Mystique:blue skin) end up joining the wrong side. Let’s suppose to make up for the fact that Xavier is not, not blue, not black, not a prostituted woman, or has any physically discernible traits that would cause people to shirk from him he is does have strong powers that allow him to know what struggle is like. Telepathy sure seems like the leveling field…except that it’s not because telepathy is not empathy and it sure as hell isn’t experience.

There are a whole lot of other issues on gender and the use of social Darwinism I could go on about but I’ll stop here (but please list what you’d like in the comments).

Overall, in its attempt to teach young adult audiences about lessons of intolerance, First Class lacked subtlety, grace and just plain common sense, when groping for social-provoking “material” like the civil rights movement for plot, motifs and overarching thematic inspiration. Bottom line: You can’t have a movie about the struggle of people of color, ripping off phrases from movements started by people of color, without people of color.

At least the previews of upcoming potential blockbusters about revolutions seem more promising. Rise of the Planet of the Apes is scheduled to be released in August, and at least that franchise picked an underdog to sympathize with I can’t possibly be offended by. Well done Hollywood, well done.

*I am not a comic book aficionado, this is a review of the movie not the comic but would love input on analysis/convo on how the comics and movie compare…

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Naima

Naima "Nai" Ramos-Chapman is the Associate Editor at Campus Progress, a dancer with Taurus Broadhurst Dance in D.C., and an aspiring visual artist (she doodles). Follow her on Twitter and Instagram @Naimaramchap.

14 comments to “X-Men: First Class” Flunkies

  • The main point of contention between Xavier and Raven (Mystique) reminded me of the “Who has it worse: gays or Blacks” argument.

    As far as the lack of Black people, there aren’t that many black characters to pull from. (Darwin is actually half-black, half-Latino). The dumb thing about him dying is the very nature of Darwins power is he can’t be killed. I could go on a long comic book nerd rant about this but I won’t.

  • J

    Wrote about this on tumblr. (http://thedoctorj.tumblr.com/post/6186802600/x-men-first-class) Apologies for the self-promoting. Anyways, I totally agree. The use of marginalization as metaphor was sloppy and didn’t come close to doing justice to the struggles that were happening at the same time as the movie is set. Also the only WOC being a stripper named Angel was just too damn much. And as Seanathan points out Darwin’s death completely negates his power and makes his character completely pointless in the movie.

  • hcduvall

    Just saw this last night and I agree with the overall rating: entertaining but weirdly unengaged in some of what it was trying to do. Like it was just a draft or two–or in some cases a take away–from working away some tone issues.

    I am a comic fan, so I went in with a couple things in mind that mitigated my sensitivity–which is to say, I probably differ in how annoyed I am about the same things. One point is that there’s a weird push/pull about how much you can change in an adaptation to be accessible and keep “fans”. What this means is that for one, allegiances are types are locked–who ends up siding with whoever at the end, whatever race whoever is in the comic, things like that are going to match the comics and if that doesn’t show more diversity, well, they echo the moment of creation and diversity wasn’t there. At creation, mutant was just another way of saying teenager. Reading it for race came later when in the comics an “all-new team” replaced the all white, all American first team after 12 years with an international cast which in movie continuity are tied up (Wolverine, Storm, Nightcrawler) or too young (Colossus). I’m not excusing it, the more I think about it the weirder it is that they didn’t do something about this considering the themes, but its a common “debate” in comics. I can see pedantic nerd argument against Idris Elba as a norse god (and that was still silly) faster than I could a couple of changes in the X-Men roster. Ultimately though, I don’t think the filmmakers gave it that much thought, whether because of lack of care and ambition (let’s just make a servicable/entertaining movie) or privilege. To wit, I imagine them thinking one: we should add some characters (Darwin and Angel) and two: we need to kill someone to raise the stakes that doesn’t appear in the finale (lose the less busty one). The script is a series of problems that are solved individually but have an unexamined outcome if one of your goals isn’t how will the new characters read.

    Mind you, I was unfamiliar with Darwin and Angel (after my reading time), but it seems weird that he would die. I guess he might not have? And Angel may walk around with a weird tattoo or something, but I don’t know why she had to be can’t be normal. I don’t know that a weird tattoo translates to must be a stripper and therefore ostracized.

    The only point I actually disagree with is, I don’t think we’re supposed to think of Professor X that highly. More could’ve been made about his wealth privilege, but while clumsy (charitably), I think a modern audience recognize Professor X as imperfect, that his paternalistic streak is a problem. In the least, we’re meant to sympathize with Raven and know that she’s right about certain things. I think there’s a lot in this movie–not just theme-handling stuff–that’s still a draft away from good, but it could be that I lower expectations and sign off on too much as bad film/sausage-making.

  • Naima

    unless of course he converted into energy and lives all around the X-Men!!! LOL. I think Darwin’s death was supposed to “mean” something but not entirely sure what….I mean Shaw embraced social Darwinism to assist in killing of the Jews, and than again when justifying his plot to nullify the human race…but he killed the very representation of the VALID theory of evolution…see where I am going with this? hmmm maybe his death was a comment how easy facts and science can be trumped and manipulated by propaganda and political framing. Maybe.

    • Red Jenny

      unless of course he converted into energy and lives all around the X-Men!!!

      That’s exactly what happened in the comic books until his mutation reconstructed his physical body.

  • hcduvall

    Nevermind my ramble about Angel. I’m basically dumbly asking why she doesn’t pass. I guess even when I’m thinking about these things I’m not thinking about these things.

  • I’m going to agree with hcduvall–I think Charles comes off as paternalistic and naive. And I think the movie intends for us to see that Charles gets to be Charles (optimistic, cooperative, judgmental) because of his race/gender/class privilege. Well, maybe not race privilege–the film does have some pretty bad race politics.

    On the other hand, Erik is incredibly sympathetic because he’s right about non-mutants. Background comics (and movie)knowledge tells you he’s the bad guy, his violence was all about self-preservation here.

  • N.

    I had the same reaction to Darwin and Angel, and to the appropriation of Black Power language, but the other thing that bugged me was Eric’s use of “Never Again” type language. He’s meant to be Jewish and lived through the Holocaust, so I suppose it makes sense – and is an important message, even if nobody seems to listen to it in real life – but it just didn’t sit right with me. But I’m not Jewish and that wasn’t my history being used (and is a Jewish character using those words the same kind of appropriation as a white woman in blue makeup uttering Black Power phrases?) so I don’t know if my discomfort is justified/justifiable.

  • I read on another site that the creative team is “considering” addressing the events of 1964 in a possible sequel, so I chimed in about the racefail and genderfail, and the fact that this movie has pissed a lot of people off.

    Within minutes, I got a reply: “who did this piss off? it was the best x-men movie.” SMH

  • Some things that confused me about this movie, although I did see threads from a few different X-men comic book story arcs:

    There are two “original” X-men supergroups. The first is the 1963 introduction of the team which featured the following five X-men (in addition to Charles Xavier): Jean Grey, Beast, Angel, Cyclops, Iceman. That was the five. That was the original. So if this “First Class” is supposed to be first, where are the other 4/5?

    And the second original, in 1975, which came about in an attempt to be more diverse and to attract a wider audience, added characters we now know and love: Wolverine (Canadian), Storm (African- mind you there’s never all that much talk about where she’s specifically from. Somewhere on the continent, that much is certain), Nightcrawler (German), Sunfire (Japanese, Banshee (Irish), and Colossus (Russian). Sunfire was killed off in the 1980′s I believe and hasn’t become all that popular since then. Hasn’t appeared in any movie adaptations; I’m sure of that. In 1981, Rogue (my personal favorite) was also added.

    So, taking a look at both of these lists, they don’t look much like the line-up in X-Men: First Class, do they? Nope. Would it have been awesome to have Nightcrawler somehow involved in the WW2 flashbacks in Germany? Yes. Would it have been baller to see Colossus in Soviet Russia? Absolutely. Or how about Sunfire melting Nazis in Argentina? Or how about STORM BEING GENERALLY AMAZING. No such luck. Though I enjoyed the movie and thought it was an extremely well-done comic-book movie, I saw so much potential! How fantastic would it have been to see Rogue in the 1960′s with an Aqua-netted hair-do punching out nuclear missiles? To see Storm on the shores of Cuba raising thunder-and-lightning hell once *spoiler alert* both the USSR and the States decide to turn their missiles on the mutants?

    I can’t tell you much about what has happened in the last 10-15 years in comics because the ones I read were hand-me-downs from my older cousins. I can however say with absolute certainty that if they really wanted to First Class this movie, Storm and Jean Grey should have been involved.

  • [...] I found all that blatant sexism really irksome too. From casual sexist comments to the fact that every major female character somehow ended up in her underwear at some point in the movie, the show definitely inserts some sexist cues. I found these instances of sexism to be really distracting from what is otherwise a really decent rendition of a popular comic series. When I mentioned it to my significant other, he pointed out that, like Mad Men, the film was set in the 1960s, and wasn’t everything just a bit more sexist back then? [I should take a minute to note that I'm only going to be talking about the gender stuff in this post. For more on how XMFC handles race, I recommend Post Bourgie's writeup.] [...]

  • [...] I found all that blatant sexism really irksome too. From casual sexist comments to the fact that every major female character somehow ended up in her underwear at some point in the movie, the show definitely inserts some sexist cues. I found these instances of sexism to be really distracting from what is otherwise a really decent rendition of a popular comic series. When I mentioned it to my significant other, he pointed out that, like Mad Men, the film was set in the 1960s, and wasn’t everything just a bit more sexist back then? [I should take a minute to note that I'm only going to be talking about the gender stuff in this post. For more on how XMFC handles race, I recommend Post Bourgie's writeup.] [...]

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