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In 2017, Damien Chazelle became the youngest winner of the Oscar for Best Director for his work on his vibrant musical drama, La La Land. But while he’s had great success with his jazzy dramas, his follow-up, First Man, is completely different—but still every bit as striking.
First Man stars Ryan Gosling as astronaut Neil Armstrong. The story follows Armstrong’s life and career through the 1960s, while building its way up to his historic walk on the moon in 1969. It follows his personal heartbreaks and sacrifices—starting with the death of his young daughter—as well as the professional and political challenges that he faces as he works with the space program. Along the way, he mourns the loss of friends and colleagues—and his wife, Janet (Claire Foy), struggles with what turned out to be anything but a “normal” life.
This is also anything but a normal biopic. It doesn’t explore every detail of all of the highs and lows of the astronaut’s life, and it isn’t talkative or overly dramatic—because Armstrong just wasn’t that kind of guy. Gosling’s Armstrong isn’t a bold, outspoken character (that would be Corey Stoll’s Buzz Aldrin). Instead, he’s quiet and even-keeled and somewhat socially awkward—a mild-mannered guy with an analytical mind and a shy smile. Admittedly, that doesn’t make him an especially dynamic subject—and, at times, the film feels somewhat distant—but Gosling packs a lot into his actions, his expressions, and his few carefully-delivered lines.
Really, though, First Man isn’t about the story; it’s about the experience. Chazelle is a gifted director, and his artistry once again comes shining through. This time, he doesn’t have a jazzy score to enhance the experience, yet he puts so much thought into every sound—every breath, every flip of a switch, every warning buzz, every muffled voice. And as he follows Armstrong through his rigorous training and dangerous missions, he puts viewers right there in the cockpit to experience the wonder and beauty or the panic and disorientation of each moment. There’s so much here in both the silence and the noise—so much tension, so much anticipation. It’s certainly a long film—and if you’re looking for a straightforward exploration of the space program in the 1960s, this isn’t it—but it’s a stunning work of cinematic art.
First Man isn’t a space travel thriller, and it also isn’t the traditional biopic, filled with dialogue and drama. It’s its own kind of movie: a fascinating and sometimes overwhelming compilation of characters and history and sound and movement. It may not be what you expect, but its attention to the smallest details makes it a larger-than-life experience.
Listen to the review on Reel Discovery:
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