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After establishing himself as one of his generation's premier filmmakers with
Oscar-winning titles Whiplash and La La Land, director Damien Chazelle returns
with First Man, which chronicles the true story of NASA's attempt to put man on
the moon. First Man is an intimate and epic biopic fueled by strong performances
from its cast, as well as skilled craftsmanship by Chazelle.
In the 1960s, America is in the thick of the space race with the Soviet Union,
frustratingly falling behind their rivals in several areas. Looking to finally
surpass Russia, NASA's Chief of the Astronaut Office Deke Slayton (Kyle
Chandler) spearheads a new mission that will see the organization travel to the
moon. To complete the very complicated process, the program recruits several
astronauts, including civilian Neil Armstrong (Ryan Gosling), and starts work on
the task at hand.
Since an undertaking of this magnitude has never been attempted, it requires
NASA to tirelessly perfect several innovations in order to make sure their
vehicles are safe. As a result, Armstrong dedicates himself to his job, while at
the same time he and his wife Janet (Claire Foy) are dealing with the aftermath
of a terrible tragedy. With outside pressure from the government and protestors
beginning to mount, NASA attempts to take the steps necessary to be first to the
moon - fulfilling the wishes of the late former president John F. Kennedy.
Though First Man is the first feature of Chazelle's he did not also write
(Spotlight's Josh Singer penned the script), it still bears many similarities to
his other projects. The main crux of the narrative sees Armstrong look to
balance his professional and personal responsibilities, increasingly growing
distant from his family as he throws himself into his arduous work. Singer
himself finds a nice harmony between these two aspects, alternating between raw,
emotional looks at the Armstrong's' home life (playing with the kids, dinner
with neighbors, etc.) and the high-stakes world of NASA where precision is
paramount and danger lurks around every corner. Fortunately, both are given
equal time to shine, strengthening the movie's foundational core as it paints a
fascinating portrait of the man at its center and builds towards an affecting
climax.
Gosling gives a very understated performance as Neil, playing the now-famous
astronaut as a laser-focused and introverted man haunted by the past. At times,
the actor can come across as distant and cold, but the personality Gosling
channels reads as an accurate depiction of the real-life Neil, and he still has
moments of touching humanity peppered throughout to make Neil feel like a
well-rounded character. Foy certainly has the showier role of the two main
leads, serving as the rock of the Armstrong family as her dreams of a "normal"
life wash away. In lesser hands, Janet could have been nothing more than another
"concerned wife" cliché, but the script gives Janet enough autonomy and she
asserts herself in certain key moments. Foy handles the part exceptionally well,
and is responsible for some of the film's more heart-wrenching scenes when Janet
confronts the harsh truths about Neil's job.
The true star of the film, however, is Chazelle, who takes another leap forward
as an artist here. There's a very interesting dichotomy with how he constructs
scenes. Sections of the Armstrongs at home can play as serene and peaceful,
complemented immensely by Justin Hurwitz' musical score, which lulls the
audience into a relaxing state. In contrast, the NASA sequences are riveting and
suspenseful, reminiscent of Whiplash's torturous drum lessons - with the threat
of death a looming possibility. Even though the outcome of the story will be
known by most watching, Chazelle is able to establish palpable tension
throughout First Man's running time, highlighting the incredible risks and
sacrifices made to accomplish a goal. Employing a number of close-ups and
first-person shots, he also makes the film feel quite immersive, placing the
viewer right alongside Armstrong and crew for the ride. Space travel as depicted
here is loud, claustrophobic and even violent. Some might find this stylistic
choice off-putting, but it's widely effective and adds another layer to the
film. Chazelle's awe-inspiring visuals make First Man a must-see on the biggest
screen possible. Particularly for the final act of the film, IMAX premiums are
worth the additional cost in this instance.
With so much of the focus (understandably) on Neil, the rest of the supporting
cast doesn't have as much to do, but all still deliver quality turns. Chandler
is a no-nonsense, authoritative presence and Jason Clarke brings his everyman
qualities to Ed White, Neil's fellow astronaut and friend. Corey Stoll makes the
most of his limited screen time as Buzz Aldrin, an outspoken individual who in
many ways is the polar opposite of the quiet and reserved Neil. Stoll only
appears in a handful of scenes, yet is able to leave his mark by providing some
(very) dark humor and a different perspective on what NASA is trying to
accomplish. All in all, the entire ensemble is quite good, but this is
definitely Gosling and Foy's show.
Chazelle was already one of Hollywood's most exciting young directors before
First Man, and the skill displayed on this film indicates he's (probably) here
to stay for the long haul. While La La Land featured some elaborate musical
numbers, First Man is arguably the biggest canvas Chazelle has painted on, and
he's now demonstrated that he can handle a large scope, while at the same time
delivering compelling character-based drama - marking a thrilling evolution for
him as a helmsman. First Man is certainly one cinephiles need to check out in
theaters as awards season heats up and contenders make their way to the
multiplex.
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