Jane Goldman, the screenwriter behind Kick-Ass, Stardust, X-Men: First Class, and the upcoming X-Men: Days of Future Past, now has on her plate another geek-oriented project: Tim Burton's live-action retelling of Pinocchio, starring not Johnny Depp but Robert Downey Jr..
Mutatis MutandisThis is not a review. If you'd like to know whether I recommend X-Men: First Class I can say simply: It was good. You should go see it. Matthew Vaughn manages to put together the cerebral, subtextual X-Men film that we've been missing since 2003. First Class moves through it's paces swiftly, deftly, and though by the end of the film I wanted to take its musical composer aside and explain that not every use of mutant powers in the movie needs to have all the string and brass instruments in the orchestra thrown at it, I thoroughly enjoyed myself. But precisely because First Class was good, and because it played the allegorical stand in for prejudice-targeted-minorities the X-Men were meant to be like a fine aria, it is also important to point out the places where it fell short of the mark with actual, real, prejudice-targeted groups. (The rest of this post contains spoilers.)
I think there’s definitely an element of 60s sexism, which is supposed to be not-a-good-thing, running through the movie, though unfortunately sometimes, when a film is edited you end up with a thread seeming that you’re not following all elements of all threads. There was much more of story about Moira being oppressed. I think what was originally there is that Moira [MacTaggert, Professor X's love interest] was a woman, so in the minority in the CIA, and in that sense was an outcast in her own way, just as all the mutants are. She was a victim of prejudice. That story line was supposed to reflect what was echoing and reverberating throughout the film, including with Raven [Mystique]. -- Jane Goldman, co-writer of X-Men: First Class, on X-Men: First Class. I'll admit that I don't know enough about X-Men canon to judge for myself whether Emma Frost is a strong enough character to make up for the so in-your-face as to be farcical odor of fan-service that her costume exudes, and the sheer amount of physics defying boobage that artists have created because of her over the years (case in point). But it's nice to see someone acknowledging and thinking about presenting the historical place of women in a period film and the struggle of the female characters against it, especially in a genre movie where it would probably go largely un-missed if overlooked. (via Bleeding Cool.)
Kick-Ass' premiere in the UK last night presented British media outlets with a grand conundrum: how to make a big studio release about a relatively obscure comic palatable and understandable to the proles?
You could: talk about the source material and the complicated legacy of Mark Millar (boring), focus on the movie's controversies around violence and swearing (better), or sidestep the film entirely by talking about how celebrities like Brad Pitt are in attendance (much better).
But then: What if the (female!!!) screenwriter behind the movie -- one Jane Goldman, wife of British TV personality Jonathan Ross -- happens to be wearing a low-cut top? Now we're getting somewhere: