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The lost X-Men movie from the 1980s



While our current trend in superhero films largely goes back to Bryan Singer's X-Men in 2000, it is important to remember that comic bookers long before Jackman, Paquin, Marsden, Berry, and Janssen climbed on the statue of liberty.

Fans may have heard of the frankly bizarre X-Men movie that almost happened to Cher, but this was not the only mutant ball the audience dodged. Only if fans believe that X-Men Origins: Wolverine and X-Men: Dark Phoenix are the worst use of Marvel's source material, have you seen anything yet.

X-Men made a great contribution to introducing Charles Xavier's gifted children. But everything could have been so different. When Stan Lee returned to the '80s and followed the dizzying heights of Richard Donner's Superman he decided that Marvel should take a piece of the cinematic cake.

Take

According to Polygon a Canadian animation studio called Nelvana claimed the rights to the X-Men ̵

1; they were then the best-selling titles – and opted for a live action movie. Chris Claremont, the legend of the X-Men, was brought in with the script.

Claremont was known to have co-written with the Dark Phoenix saga, helping to create characters such as Rogue, Kitty Pryde, Mystique, and Gambit, a popular choice.

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<p class= 1982 Claremont designed treatments for two film ideas Both iterations One of his favorite stories was Cyclops, Jean, Storm, Wolverine, and Charles Xavier Kitty Pryde was also at the center of his stories as they pursued their integration into the X-Men's main family, a familiar story that somehow evolved into Anna Paquin's rogue in X-Men .

When Claremont stepped down to concentrate on writing X-Men com he handed over the reins to comic writers Roy Thomas and Gerry Conway Nelvana had teamed up with distributor Orion Pictures to get results had aimed, such as The Terminator.

Take Two

The treatment of Thomas and Conway in 1984 captured the essence of Claremont's vision and once again put a young Kitty Pryde in the spotlight. In her first draft, the vicious Proteus sucked his victims' life (under the dark age ego of Dr. Anton Lykos) and joined forces with the Brotherhood.

Unlike the comics' famous villain team, this was just a general grunt called Brotherhood instead of Brotherhood of Mutants. Elsewhere, Wolverine got his adamantium skeleton from a car accident. It is safe to say that the studio was not impressed and the couple continued to ask for rewriting. It gets a bit strange here.

Take three

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Marvel Comics

The last iteration included Xavier and Cyclops recruited mutants for their cause Proteus was still the villain, but had evolved into a malevolent CEO / vampire In the shelter of the dark energy, Proteus and a gang of corrupt world leaders were sucking up a continent from the depths of the earth. The Pacific Ocean.

If this sounded more like a Campy Bond movie than an X-Men outing, how about the fact that the word "mutants" has not been mentioned once? Class * Cough * Wolverine desecrates the source material and refers in the script only to "Muties".

Speaking of negative Konnotati Conway continued to grumble, "A mutant was a monster if you did not know comic mythology, and you had to assume it was a studio in the early 1980s."

Cyclops, Storm, Wolverine and Kitty were also there alongside Nightcrawler and Colossus, Jean was mysteriously MIA despite their popularity in the Dark Phoenix saga. Thomas and Conway exchanged fiery redheads and started a new character named Yoshi.

Yoshi was not a sweet green dinosaur, but a Japanese pop star created to appeal to potential Japanese investors. Also new to the mix was Kitty's girlfriend Bernie. With no power and no real purpose, Bernie was simply there for following Pryde to her training.

Luckily Japanese pop stars replaced one of the most iconic members of the team and there never was a ridiculous showdown on Easter Island. In 1985 Orion had the worst year ever. The company continued to limp until it closed in 1991, while the X-Men rights eventually passed to Fox.

Concerning an alternative X-Men timeline (something the franchise loves), Claremont agrees that everything was for the best. Claremont explained the significance of Singer's X-Men : "It's about being in the right place at the right time and putting the right project and ultimately the right creative and commercial talent to the other side Life. These stars in the early 80s were not in line. "

Who knows, maybe the inevitable restart of the Marvel Cinematic Universe could bring the X-Men officially to Yoshi's knees? Well, it can not be as bad as shutting down Ryan Reynolds in X-Men Origins right?


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