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X-Men Let me get this straight, first of all -- this is not the great American movie. It isn't even the greatest science fiction movie of all time. It is, however, a science fiction movie in one of the great traditions of science fiction -- the notion of taking the one impossible thing and spinning the rest of the story out of it. In the process of making X-Men, director Bryan Singer has cut
away huge amounts of comic-book history, taking useful pieces and using them to establish
the characters in very economical ways. At the beginning of the film, he establishes
one of his themes (repression) almost by shorthand, establishes a second (being different
and becoming outcast) within minutes, and is into the primary conflict (Xavier's
philosophy against Magneto's anger-driven agenda) without a pause for breath. By the
time we get to Wolverine in Canada, the film is already moving like a rocket despite
several seemingly langorous setups. While there is a sense that there could be
more, there is never a sense that sequences are cut short -- even though more than the odd
expository scene has been dispensed with. As has been noted repeatedly, this is film more about Wolverine (Hugh Jackman) and Rogue (Anna Paquin) than any of the other X-Men. Cyclops (James Marsden) comes off as a smug jerk when not being a competent team leader (the moments where his own angst might have been examined are, alas, abbreviated), Storm (Halle Berry) is rather vapid until her major battle sequence (and then there are moments that sent chills up my spine), and Jean Grey (Famke Janssen) is seen as a competent and caring scientist, but has little time to demonstrate much more. Patrick Stewart, fortunately, has enough time to show us a luminous interpretation of Professor Charles Xavier -- this is not the driven, domineering Professor X of the comics, but one who has a gentle soul, much more a Ghandi in nature than even a Martin Luther King. Stewart thus works perfectly across from Sir Ian McKellen's portrayal of Erik Lensherr, aka Magneto. Magneto is not truly an evil man, though he chooses to do some evil things in the name of his cause -- his own history has warped him, and he sees the rising tide of bigotry against mutants as a return of the holocaust he survived as a boy. His solution to this is badly flawed, of course, but he is willing to sacrifice himself for it -- and just as willing to sacrifice another to make it more effective. Magneto has his own support team, though it becomes clear along the way that only Mystique (Rebecca Romijn-Stamos) is in any way linked to Magneto's agenda. Toad (Ray Park, in a hilarious performance) is maniacally bent on mayhem, and Sabretooth (Tyler Mane) is faithful muscle, with little brain. The movie belongs to Wolverine and Rogue, however, bringing the two of
them together and Overall, X-Men is a snappy, intelligent summer film, a far cry from the various versions originally in work, and looks likely to provide Fox with a working franchise for the next decade or so. While the choice of Bryan Singer to direct was a nervy one, it has paid off beautifully for Fox, Marvel Comics, and the audience. ©2000 by Steven E. McDonald |
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concentrating on developing their
personalities and relationship. Jackman is definitely a find -- his Wolverine is
fierce and violent, sometimes acting too fast, often acting from the heart without
stopping to think. While it isn't given a lot of screen time, his sudden surge of
feeling for Jean is as understandable as his caring for Rogue -- he doesn't need time for
inner debate. In turn, Paquin makes Rogue's response believeable, her reluctance to
connect giving way to her need. Events through the course of the movie make the bond
between them unbreakable, and provide one of the future directions for Wolverine.
This is not a portrayal of Wolverine as a violent beast, either -- Jackman's Wolverine
demonstrates intelligence and courage, as well as a line in smart-ass comments (including
a reply to Cyclops that brings the house down.)
