Directed by: Damien Chazelle
Starring: Ryan Gosling, Claire Foy, Corey Stoll, Jason Clarke, Kyle Chandler
Written by Rhys Bowen-Jones
You’d think the moon landing would have a bigger filmography. By my count, there are 25 films about the general Apollo program, two of which are Men In Black 3 and Transformers: Dark of the Moon. Given such an astonishing feat, it was about time it received a proper cinematic treatment, and Damien Chazelle (of Whiplash and La La Land fame) is on hand to deliver just that.
And my word, does he deliver.
I’m not sure how much I need to say about the film. First Man is about the moon landing. It’s about NASA, rocket scientists, Neil Armstrong’s family, and Neil Armstrong himself as they attempt to finally get one over on the Russians in the infamous space race of the 1960s. First Man does do a splendid job of filling in many of the gaps in my knowledge of the story, and it does so on the shoulders of two tremendous leading performances from Ryan Gosling and Claire Foy.
First Man is a step out of Chazelle’s comfort zone. Having given us back to back show-stoppers in music-centric and impressively stylish efforts, he reigns back the sweep pans and on-the-beat camera cuts in favour of something far more paranoid. This becomes immediately apparent in its stunning opening scene with the introduction to how the film uses its shaky camera. Shaky camera has its criticisms when used poorly (badly choreographed fight scenes, I’m looking at you), but Chazelle uses it so perfectly here. It manages to absolutely convince you that Ryan Gosling has literally been sent to space in a tin can. Armstrong endures multiple trips to at least the Earth’s atmosphere, and the way they’re shot from almost entirely within or attached to the space craft made me feel, as cliché as it sounds, like I was right in there with him and that this might completely fail at any second.
Chazelle wants to express a combination of total wonder of what’s possible with a sense of complete isolation as the key players of the film rocket towards a seemingly impending doom. Shots of Armstrong sitting alone at the dinner table surrounded by darkness, or shots of Claire Foy’s Janet Shearon (Armstrong’s wife) standing alone in a doorway, again surrounded by darkness, imply so much of their relationship; their personal dilemmas, their frustrations with one another, their annoyance at their reluctant thrust into fame, all the while dealing with 2 blissfully unaware young children whose only preoccupation is whether they can play outside.
The necessary confrontation between Janet and Neil is shot with the same quiet intensity as a space trip, with Neil facing a reality he didn’t want to; having to tell his young children he might not come home. This is sure to be one of the many highlights Gosling and Foy send off for their almost guaranteed award nominations. Some may think Gosling is just being Gosling, the quiet, stoic leading role who doesn’t say all that much and stays focused on the job, but when your mission is the most dangerous mission in human history that may be your end, you could forgive his stoicism. Foy leaves a particularly strong impression as the wife left at home with the kids, as she stands up to the NASA scientists who, in one instance, cut the connection to her radio linked to Mission Control. As an aside, Claire Foy now has back to back stunning performances after Unsane earlier in the year, and I can’t wait to see her portrayal of Lisbeth Salander in The Girl in the Spider’s Web.
What I feel is important to address is that First Man isn’t the space adventure some may expect. It spends the majority of the film firmly on Earth, getting to know its key characters and showing us the blood, sweat, and tears that went into getting onto the moon. Having said that, when it does go to space, it goes. The fuck. To space.
The space scenes are spectacular. From its first flight to the Apollo 11 mission we all came to see, it begins being shot with surprising restraint. I kept wishing for the camera to just pull back slightly and give us a wide shot, I found out the long way that the restraint is worth it for what’s to come. The moon landing sequence is a stunner. It’s a knock your socks off, awe-inspiring, blow your face clean off its hinges sequence. Much of the film has a very old-school, grainy look to it to give it a 1960s authenticity, but the switch to IMAX for this sequence is put to fabulous use. The gargantuan size of the actual moment of a human being setting foot on the moon is given the wonder treatment with one of the film’s rare flashy moments in which the camera swoops down the shuttle’s steps and just stops dead in its tracks, almost in shock, to appreciate the horizon. The vastness of the moon laid out in front of our very eyes. It’s jaw-dropping. The time Chazelle and co. spent building up to this very moment is all completely worth it. This was a moment felt by the entire cinema, as the music cuts out completely, it was just us, Neil Armstrong, and the moon. You could’ve heard a pin drop. Dozens of pairs of eyes locked on the screen, transfixed by something so spectacular that I can’t say I’ve experienced a moment like it in film in a long time. Of all this film’s impressive elements, this sequence is the crowning achievement and it deserves all the praise it receives.
There is so much more that could be praised. Justin Hurwitz’s score has an almost ethereal feel at times, balletic at others, and completely epic when it needs to be. The music rarely swells to the overwhelming levels of, say, Hans Zimmer’s glorious work on Interstellar. Like the rest of the film, it holds itself back until it needs to, and when it hits the moment it needs to, it completely overwhelms you with its sheer power and beauty.
On a similar note, the sound design is sure to be one of its many award recipients come February. During the major space sequences, the aforementioned Gosling-in-a-tin-can stuff, the clanging and the clattering and the spinning and the exploding and the ringing all bring you to near breaking point. When you feel the sound has reached its highest point, it somehow finds another level, and then another, and then another to bring me to gasping-for-breath levels of anxious.
First Man is stunning. It’s an astounding achievement for a young director on the winning streak of his life; it has two award-worthy leading performances; it’s gorgeous to look at; it’s amazing to listen to; and it’s an utterly overwhelming experience. See it on the biggest, loudest screen you can. Chazelle, you’ve done it again.