First Man

“First Man” makes me think of a story about the first female President of the United States. I would have titled this “One Small Step” or something a bit less vanilla. Either way, the title as blasé as it is, portrays a film that is nothing short of epic.

Fresh off the success of “La La Land,” Damien Chazelle and Ryan Gosling once again team up to tackle awards season, but this time it’s Claire Foy who steals the spotlight. With a cast that absolutely kills it every which way possible (Kyle Chandler, Jason Clarke, Corey Stoll, Pablo Schreiber, Shea Wigham, Patrick Fugit, Lukas Haas), Chazelle captures the era with remarkable realism and visual effects, and during the final act, the imagery is awe-inspiring and majestic.

The story of Neil Armstrong and NASA’s moon landing back in 1969 is widely recognized as one of mankind’s most triumphant achievements. The film follows Armstrong (Ryan Gosling) from 1961-1969 as he is balancing the monumental weight of space travel with that of a young family. His wife, Janet struggles to maintain a sense of normalcy or sanity while her husband is training for what many considered a suicide mission, and their two young sons are caught as reluctant parts of history. Armstrong evolves from daring test pilot to the most capable and reliable member of the NASA program with a subtlety that is admirable, while drifting farther and farther from his familial responsibilities.

Ryan Gosling is a thing of beauty to watch. One of the finest actors of his generation, he conveys the stoic nature of Armstrong deftly and with great detail. To a less discerning eye, the acting may seem wooden or uninspired, but it absolutely captures the personality and character including nuanced fidgets and steely-eyed gazes. Amidst the aloof appearance, Gosling has an emotional atomic bomb simmering beneath the surface. You can’t see it, but it’s there nonetheless. Not to be outdone, Claire Foy is absolutely remarkable as his oft-neglected wife. A loyal companion ready to emotionally implode at every moment, but holding it together like a 1960’s housewife is supposed to. The chemistry reminds me of DiCaprio and Winslett from “Revolutionary Road” which is to say the realism is remarkable.

Watching the inner-workings of a 1960’s NASA is cause for a bit of nostalgia mixed with a giddy sense of befuddlement. How did they manage such monumental feats with such antiquated technology? It adds to the suspense, and as trial and error has devastating consequences, the stakes seem even higher as the inevitable goal becomes a reality.

Aside from the aforementioned achievements, Damien Chazelle dazzles with his direction. The era is captured with precision and attention to the most minute detail, and when it comes time for the climax, the tension is palpable and the visuals are magnificent. The moon scenes are mesmerizing and masterful, creating a sense of legitimate awe.

The obvious history lessons aside, this is the type of movie that exudes everything that modern film-making is meant to be. Outstanding story, direction, acting, and production. It is the best film of the year thus far, and although awards season has just begun, the bar has been set very high for the other contenders.

The film is nearly flawless. Any criticisms about realism or detail is simply being overly persnickety. You will find everything about the film satisfying in the end, particularly if you’re a fan of American history, technology, and humankind’s remarkable ability to adapt and innovate. 9/10.