One sequence is filled with silver shades, shiny metal tools, water, expressing a sorrowful feel while the other portrays a picture of brown/orange hues, wooden furniture, fire, inspiring a much more delightful vibe.
For a moment, let’s just not talk about how much of a disappointment X-Men: Apocalypse was (or was not) and focus on the obviously good thing. It doesn’t matter how X-fans feel about the last installment of Fox’s First Class trilogy, people can admit that those two Quicksilver sequences were both out of this world. Having been panned out by fans after his first-look teaser (someone even pointed out that his look was worse than one in a parody), Evan Peters’ Quicksilver then made his debut in one of the most beloved highlights from X-Men: Days of Future Past.
While the last three films from the most followed franchise of Marvel’s non-MCU cinematic adaptation still relied heavily on the triangular relationship between Raven, Erik and Charles, as well as the primitive masculinity of Wolverine in order to lure us to the theaters, Quicksilver showed up just in time to breath a fresh breeze of whimsical attitude into the franchise. Despite the presence of adequate humor here and there in Days of Future Past, the speedster really did make superheroes genre fun in an undoubtedly charming and quirky way that is nowhere to be found. Yet if you look close enough, you may find tidbits arranged to create some contrasts and similarities in terms of setting between these two fascinating rescue sequences.
The hair-splitting contradistinction
In Days of Future Past, Quicksilver, as the active partner-in-crime with Professor X and Wolverine, just breaks in and saves Magneto from a Pentagon military base after the Master of Magnetism is imprisoned for his alleged assassination of President John F. Kennedy. The setting for this sequence is a modest kitchen section, most of which is filled with metal kitchenwares like tables, cookers, and cutlery. Together with the colorization of panelings around that ranges from silver to light slate gray, the kitchen gives off a feel of shiny, silvery lighting, matching the ‘rain’ as well as Quicksilver’s hair and flashy outfit.
The mechanism here is indirect rescuing through manipulation aimed at the source of threats. Peter, one by one, flicks on a guard’s face, throws a plate at one, knocks one up, turns one’s punch back onto his own face, and eventually arranges for the last two guards to strike at each other, all at the velocity of super speed. Also, plastic bullets fired from the beginning of this sequence that should have hit the other three heroes are also deflected to keep them safe. Our rescuees stay untouched, as they were, while the whole room is soaking wet under the sprinkler system. The background music here is Jim Croce’s morose folk rock song Time in A Bottle, which was released in 1973 – the same year as of Days of Future Past’s events, adding to the inevitable melancholia of this scene.
10 years later, Peter Maximoff’s heroic act is performed in a somewhat surprising circumstance for him as the speedster only just arrives at Miss Peregrine’s… I mean Xavier’s School for Gifted Youngsters to seek help from Charles. This setting is much, much larger than the kitchen back in Days of Future Past, as Charles’ mansion is the house to dozens of young mutants, not to mention the Cerebro and the Danger Room. Of course, most of the materials here are wooden. The overall color palettes in these shots are a combination of seal brown, orange-red, and cobalt yellow from walls, furniture, and fire blasts. In contrast to the kitchen sequence, Quicksilver, by all means, cannot affect the cause of danger because, of course, it’s an explosion and he’s vulnerable; thus, the mechanism here is direct rescuing as Quicksilver dispatches the clueless mutants to safety by his own hands.
This is where creativity kicks in. Quicksilver, aside from grabbing people behind their necks and the low vertebra of their backs for protection, also stuffs them in bed sheets, throws them to blankets that are unfurled, up in the air and into the water. The unwittingly collateral victims of Havok’s carelessness are all carried away, except for Havok himself, who is presumed dead as he is closest to that blast. Though Quicksilver exhibits much more maturity and caution rather than the previous playful inclination, an upbeat synth-pop soundtrack – Sweet Dreams (Are Made of This) from the new wave duo Eurythmics – is played in the background of “The Extraction”. Of course, the song was released in 1983, when the events of Apocalypse occurred (in their timeline, duh). Another trivia is that, according to Bryan Singer in a press junket back in May, this 3-minute elaborate sequence took the cast and crew 3 months to film from scratch, with a lot of setting requirements like advanced lights and phantom cameras (that run 3000 frames per second), as well as slow-motion capture techniques, plus a one-week rehearsal of stuntwork.
Overall, one sequence is filled with silver/white colors, shiny metal tools, water and a sorrowful feel while the other portrays a picture of brown/orange hues, wooden furniture, fire and a much more delightful vibe. And one last note about this speedster, there might be a mutual agreement between Fox and Marvel Studios regarding the Maximoff twins. In the X-verse, Wanda never showed up (the little girl in Days of Future Past was Polaris) while MCU’s Quicksilver did not see that coming in 2015’s Age of Ultron. Therefore, each of the studios now has only one of the siblings being active in their recurring role.
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