Directed By Damien Chazelle
Starring – Ryan Gosling, Claire Foy, Jason Clarke
The Plot – A Biopic on the life of the legendary American Astronaut Neil Armstrong (Gosling) from 1961-1969, on his journey to becoming the first human to walk the moon. Exploring the sacrifices and costs on the Nation and Neil himself, during one of the most dangerous missions in the history of space travel.
Rated PG-13 for some thematic content involving peril, and brief strong adult language
– Masterful sound mixing. One of the most difficult things to channel and articulate about a space movie are those often overlooked aspects of atmosphere that are rarely ever channeled properly in audio capturing. That is until Phil Barrie instills his influence of perfectionist touch upon the presentation. Phil’s consistency constantly overshadows what transpires throughout the many missions in space that the film depicts, and does so in a way that combines them into a chorus line of measurements that continues to magnify the tension associated with every scene.
– Needless to say, this film is much more terrifying than any science fiction horror film can muster up. What Chazelle’s intimate exploration proves is that space never needed a world-ending asteroid or an army of venom spewing aliens to relay the risks that follow, illuminating the uncertainty of timely technology that was anything but a perfect science. You’re almost waiting for something to go bad during each attempt, and this thought process only highlights the desire of the mission that is every bit as urgent as it is delicate.
– Without question, my favorite aspect of this film is the seductive camera work and grainy cinematography. On the latter, it’s incredible that IMAX cameras were used to film a majority of this movie because the film’s intentionally dulled down color pallet is something that moved miles in terms of time period consistency, giving “First Man” a transformative feeling to a time when film quality wasn’t as fortunate. On the former, the decision to shoot the ship scenes with so much intimacy and claustrophobia, in addition to the occasional first person point-of-view, is one that pays off immensely for communicating not only the high stakes of the mission, but also how alone and isolated they feel from those they love. Most space films, especially during the 90’s, got this kind of thing wrong, but Chazelle more than anything wanted to illustrate the fragility associated with space exploration, especially during a time when science was anything but exact.
– In addition to the film’s look channeling its respective time period, the production props and wardrobe also vibrate a sense of authentication in subtlety that are sure to please. We are treated to a lot of short sleeve button up business shirts, with a thin tie to bring it all home. Likewise, the many peeks of classic automobiles and outdated Busch Beer cans were something that was a treat behind every corner, leaving no stone unturned for superb production details.
– Depthful screenplay by Josh Singer. In learning that this was the first film that Chazelle didn’t pen, it did have me remotely fearful for him covering someone else’s vision, but the very man who covered such important topics like child molestation with Catholicism in “Spotlight”, as well as the battle for free press in “The Post”, more than filled my glass of optimism with the amount of versatility he provides in 133 meaningful minutes. More than just another space movie, this film values the battle of what’s going on at home with the wives of these astronauts. It also brings to light the increasing pressure of the United States and NASA to come through with a meaningful triumph, and how those demands fell on the shoulders of one man who bordered obsession in such a mission. All of these subplots continue to play into our thought process as we watch the film, and give us great investment for Neil’s character, if only even for this drained man to finally attain the peace of mind he has worked so hard for.
– While this is Chazelle’s first film that doesn’t revolve around music, it doesn’t mean that the accompanying scores by longtime partner Justin Hurwitz don’t breathe a level of importance for the particular story. What’s appreciative is that they are mostly saved for the moments when their inclusion serves the atmosphere and scenery the loudest, capturing an essence of dramatic wonderment in American achievement that constantly fishes for goosebumps. Strangely enough, there’s one number in the film that repeats twice that I swore was a number from “La La Land”, only slowed down, and that’s quite possible considering the very same man who composed the Oscar winning numbers from that film also perfected the patience and prestige that accommodated “First Man”.
– A touch of the past. I was very surprised and humbled with the film’s decision to include the actual audio transmission of NASA headquarters in Houston, during such a monumental time. Even more pleasing than this however, is the use of 1969 stock footage between American commentary on the failing space program, as well as the influence that arguably the greatest achievement in American history had on the citizens who watched it in droves.
– Surprising assortment of supporting cast. In watching the three different trailers for this movie, I did manage to spot Kyle Chandler and even Jason Clarke, but never did I expect that this film was more of an ensemble piece than I thought. Pablo Schreiber, Ethan Embry, Ciaran Hinds, Shea Whigham, and of course the gret Corey Stoll all play important pieces that interact with Neil before his missions, and prove that the big names are beginning to flock to Chazelle as one of the prime directors of our generation, and with films like “Whiplash”, “La La Land” and “Grand Piano” under his grip, it’s easy to see why.
– The big payoff. It’s no secret the event that this film is building to, but after over two hours of build and exposition does it truly payoff in size? You bet your ass it does. My suggestion would be to see this film in the biggest screen possible, because the combination of breathtaking aesthetics, as well as magnitude in scope remind us not only why this story is so fascinating to us, but why American perseverence never quit. There’s one shot in particular that is almost frozen in frame, giving the audience plenty of time to soak in the immensity of it all, and single-handedly solidifying itself as my single favorite shot of 2018.
– If there was one thing that I wasn’t worried about, it was the work of Ryan Gosling, but that proved to be my undoing. This opinion might be unpopular with a lot of people, but Gosling’s reserved performance here is remarkably underwhelming for never giving us a single instance of gripping delivery. Beyond Ryan however, the film’s direction never allows us to see inside of Neil, instead choosing to continuously view him from the outside and come to our own conclusions about what’s going on inside. This proves a huge disconnect for the screenplay, and served as the only real negative that I took away from an otherwise flawless movie.