Chazelle clearly wants to put the audience in Armstrong's shoes -- both on Earth and the Moon -- to provide a taste of the adrenaline rush and terror these endeavors required. Read More The buttoned-up nature of the character puts Gosling to the test, but he conveys a great deal with mere glances and expressions, some of them directed at his colleague Buzz Aldrin Corey Stollwho has a way of saying what everyone's thinking, even if, as Armstrong notes, he might be better off just shutting up. The supporting cast includes Jason Clarke and Kyle Chandler, as strong, silent, unemotive types abound. While the movie definitely plunges into the romance surrounding space exploration, "First Man" also wonderfully and economically sheds light on the era, including budding skepticism about the Apollo program in the late '60s, as the antiwar movement grew in power and intensity.
The opening establishes this well, especially that subjectivity. At just over five minutes, this is the shortest of the three trips to space that give the film its narrative structure, but is unrelentingly effective. And it is not just about space. This description suggests much more linearity than the film provides, though.
It is a life spent a strange sort of repose but for those moments he journeys into space. And this decision, near the beginning of the film, is the rare moment that seeks to project any interiority onto this man.
The ice running through the veins of the very taciturn Neil Armstrong gives the film its chilly aesthetic and its chilly tone. The routine mundaneness of the space training programme makes sense when considered as a work drama, but feels less informative when rendered as a subjective view of this first man.
The chaotic space trip of the opening feels masterful, and slightly incongruous with the rest of the film. The later trips to space lose some of the subjectivity of the first, most likely because he does not take them alone.
But they do weaponise the subjective point of view in privileging the headspace of its astronauts. In the final trip, the use of silence to predicate the majesty in a moment towards the end is wonderful to behold.
But it is the first trip that sticks in my memory. There is no inscrutability. Instead, the scene telegraphs his wonder, fear, and concern with aplomb.
It feels faintly ironic that when his helmet comes off and we encounter him, as played by Ryan Gosling, the man becomes startlingly opaque. Midway through the film, Armstrong is informed of the death of some colleagues in a work accident. The camera closes in on his face so much that his hair and forehead are momentarily obscured.
This is a man built on his stoicism. The thematic resonance of the film beyond the obvious: The film is not about Americana writ large on screen, but space travel seems foreign to me in a way that seems to represent this region.
Not just in the spatial sense of its dance but culturally and ethically and socially. I wondered, at the end, whether Chazelle really did think the moon landing signalled a giant step for mankind.
And then I realised that maybe he wants me to decide on my own. The brief moments that provide context of the world outside of NASA, an effective textual choice, presents a wealth of conflicting inferences.
The buoyancy of the song belies its implications of societal imbalance. Persons of colour struggle as a white man flies to the moon.
The placement seems to subtly but sternly argue against the idea that space travel is some easy lark. The more pressing question might be is it worth getting Whitey on the moon, not just for the country, but for him?
But, it seems no accident that the last real world context the film provides is a speech from JFK as he talks about having the tenacity to continue in the face of roadblocks. The last frame of the film reframes this question, privileging a private moment with the Armstrong that seems to reject the public space the mission plays in history.
It begins in space, but ends with its two feet firmly planted on the earth.Another intriguing lateral-thinking exercise called the Man In The Moon.
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Prime Video. Tweenies - Series 5 Episode 41 - Man in the Moon (1st March ) Max explains to Jake about the Man in the Moon. Jake thinks there is something wrong when he sees the moon . Moon in Aquarius Man. An Aquarius Moon man gets his emotional security by being quirky and unconventional, from having lots of friends and acquaintances, and from preserving his independence at all costs.
A flirter with all, a partner with few (or none), the Aquarius moon just wants to have fun. Man on the Moon is a song by the band R.E.M. from their album Automatic for the People. The song makes numerous references to the performer Andy Kaufman, including his Elvis impersonation and work with wrestlers Fred Blassie and Jerry Lawler.
Man on the Moon, by Norman Rockwell. Regionalism. genre painting.