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First Man – The First Man Damien Chazelle | Review

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Published on Oct 16, 2018

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It is not a defect that The First Man is not at the level of the rhythm of Whiplash or of the intrinsic beauty of The Land, but the fact that it is still a beautiful film highlights how great this young phenomenon of the american cinema called Damien Chazelle, who signed his umpteenth triumph.

Already it is brilliant just the basic idea of the concept, namely, that of distancing themselves from the title of music director and make a film with the music has nothing in common (when it was announced that she would direct a biopic about Armstrong, all was natural to think of Louis): of course there is a lot of, with Justin Hurwitz, who signed another soundtrack unforgettable (even, ironically, we will be told that Neil Armstrong at the time of the college directed the musical) yet there is a different territory film in which we move: “the need to expand their horizons,” will say at a certain point, the character of Jason Clarke, and it is then that Chazelle comes out of his comfort zone and thrown in the epic drama, the adventure, in space, on the Moon, cementing, however, his commercial cinema continuing the same theme of the two previous works.

It is a film about a couple, The First Man, but also and especially on the dream, on the power of the dream, the sacrifices to achieve it, on the suffering of expense to achieve it and the tears and the blood spilled along the way. Along with Ryan Gosling Chazelle, the sky had already reached literally and in all senses in The Land, but now has been aimed at the Moon: and the Neil Armstrong will not be taken up in the act of planting the american flag (great idea not to emphasize the slightest gesture) because the small step of man is the great leap not a nation, but of humanity, transcends geographic boundaries and speaks to the soul of each of us ... as the film Chazelle.

Film Chazelle that is also updated from a technical point of view: it is the classic cinema of the trip to space, what we have seen in the unforgettable True Men and women of Philip Kaufman and in the beautiful Apollo 13 of Ron Howard, a film made of common people and extraordinary enterprises, but here is updated and modernized, with elements taken from the claustrophobic thriller (Chazelle uses a lot of subjective Neil to let the viewer in his helmet, in the tight cockpits, many hand-held shots to make us feel the vertigo and the nausea, the fear of uncertainty) that minimize the emphasis of the space, not the spettacolarizzano never in fact nor emphasize the danger. It is a tiny little space where you move the protagonist, little as he had ever seen, and very dark, totally black, to the point that you fail to see even the stars.

As small as the interior of the house that Neil shares with his wife, Janet (Claire Foy is unforgettable), dark as the period of life that has to deal with in the beginning of the film (get to the Moon is not its only mission, let's put it this way). It is this relationship that is exalted as The First Man-the life, the life of the couple and the role of the father are aspects of the protagonist's life that might go shattered by the fault of the Moon, a white ball that is up in the sky but that stands in front of each other thing, because to stay in the living room with his family, Neil prefers to remain all night in the garden to look with his telescope, the satellite that he dreams to achieve.

And’ a growing absolute, the film, that salt and salt and salt to the Moon, constantly toward the Moon: the challenge is ambitious, to make us feel anxiety in regard to a mission impossible for us to know possibilissima because managed years ago, but Chazelle is aware of it and so when you can emphasize all the difficulties of the journey, a comparison of the technologies of yesterday with those of today, it seems even more fascinating and extreme.

And then we get to that 20 July 1969 where all the tension accumulated in the minutes before it is released in a sequence from the chills, which is a bit of 2001: a Space Odyssey, in time to show the flight of the spacecraft and a little bit The Martian when it comes to the staging of the extraterrestrial territory. But again, the fact that Chazelle is not sgrammatichi never start from the visual language established by Stanley Kubrick in ’68 (a year before the launch of Apollo 11, think a bit) does not diminish The ever First Man: if anything, it reminds us how much cinema of today has yet to that masterpiece immense, that Chazelle pays homage with love and, most importantly, unlike others, with great humility.

First Man – The First Man Damien Chazelle | the Review is of MangaForever.net

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