By midlandsmovies, Oct 21 2018 08:28AM
First Man (2018) Dir. Damien Chazelle
For a man who is probably one of the most famous who ever lived, Neil Armstrong was sure a modest guy. Shunning the spotlight after his infamous trip to the moon and back, the human who took one small step decided to take a step back from the limelight after his legendary voyage. And it is that low-key confidence that director Damien Chazelle (of La La Land and Whiplash fame) tries to tap into in his new film First Man.
We are thrown into the cockpit in Chazelle’s opening scene as Armstrong’s pilot comes unstuck during a test flight of an experimental X-15 rocket which he struggles to gain control of during a re-entry. Chazelle’s tone throughout combines two recurring themes – the cool-as-a-cucumber Armstrong and the technical feats of NASA during the 60s. The opening is a claustrophobic and exciting action sequence where buzzing alarms, broken throttles and life-threatening science all go hand in hand.
After successfully getting back to earth, although Armstrong is not entirely seen as successful, the film begins to expose how Armstrong however was viewed as extremelt dependable in times of crisis. Ryan Gosling’s slightly one-trick “moody wanderer” shtick (see also Blade Runner 2049 and Only God Forgives) works here to show Armstrong as a contemplative and serious man whose one goal is the success of any challenge placed in front of him.
Attempting to get more emotion from him is Armstrong’s wife played by an excellent Claire Foy. After the loss of their young daughter, Armstrong adds a metaphorical distance in their relationship. Burying his emotions deep, the film follows Armstrong in times of solace – again, reiterating his lonesome and contemplative nature. Foy brings depth to what could be a “caring wife” cliché – giving her some real toughness which was also seen in Unsane and no doubt in the future Dragon Tattoo spin off.
As their family stresses adds to Neil’s woes, Chazelle uses the “space” between words to explore the difficulties they are both facing. As the Apollo missions gain pace, more and more fellow Astronauts are killed during tests and flights which constantly plays on the couple’s fragile minds.
Whilst Chazelle uses the quiet moments to say so much the film really has two sound modes: Bombastic noise with a symphonic score (excellently composed by Justin Hurwitz) but in contrast stark silence. The audience is reminded of the omission of sound in space but space is both the empty void between the stars AND the gap between husband and wife.
Chazelle’s involvement in such “sound films” like Grand Piano, La La Land and Whiplash has given him huge dexterity in using sound as another character – one that comes to the forefront when it is there and also when it isn’t. Alongside this, the acting of the support cast is great and the whole film is shot very naturally, and at times with an improvisational style especially with the child actors.Filmed on both very grainy and authentic 16mm and 35mm film stock., further authenticity is added the inclusion of real footage from the era in 3:4 ratio which alongside the subtle but well used wardrobe, further adds to its time period credentials.
As the film edges closes to the infamous Apollo 11 launch, the constant presence of death – loss of young child, loss of colleagues, loss of friends – continues to permeate throughout. In many ways, as this occurs, Armstrong experiences an increased loss of emotion. With Chazelle’s almost point-of-view shots from the astronaut’s positions in their spacecraft, their confined position is an apt coffin itself.
The film returns to his daughter’s death as Armstrong avoids people at a colleague's funeral and he tracks his daughter’s illness in a log book and is as meticulous about his work as his family – sometimes to both their detriment.
As we enter the final third, Chazelle’s great film even raises the stakes despite us all knowing the expected outcome. The noise of creaking metal and shots of shaking rivets show how these men are simply in a controlled but very dangerous explosion. The risk to life is very real and the long pauses throughout the movie create a tension that sticks during its moon landing ending – spectacularly filmed in IMAX sequences. And as the eagle lands on the surface, one of the most well-known parts of our shared history is given new life and we rediscovers its importance – to us all and to this one humble man.
First Man therefore is a fantastic voyage of both a mythical yet somewhat conventional man. Ever the reluctant hero and considering he completed one of the most, if not the most, infamous achievements in human history, his commitment to science, family and getting the job done comes across in Chazelle’s portrayal. A uniquely earnest and simple man, Armstrong may have sought a low profile later in life, but I hope First Man reignites interest in this hugely exciting period.
And Chazelle has no need to bow down to the audience to ensure everything is a projection of their experience. This is Neil’s experience. And First Man is a first-rate biography mixing an amazing directorial confidence in cinematic techniques to explore what drives us all to unimaginable personal and public feats of endeavour.