Review: Chazelle's 'First Man' is at once intimate and grand
Nearly a half-century has passed since the majestic moment when Neil Armstrong stepped carefully の上に the lunar landscape, left foot first, taking that 巨大（な） leap for mankind.
Whether you were alive then and glued to the TV, or relived it later through that iconic, grainy 航空宇宙局 （映画の）フィート数, what you probably remember is just that: The majesty.
You're probably not thinking much about the deafening noise, the claustrophobia, the terror of 爆破ing off in a rickety sardine can that could fail at any moment for any of a thousand 推論する／理由s. Or the fact that Armstrong and Buzz Aldrin could have ended up 立ち往生させるd, left to die on the moon; 大統領 Richard Nixon had a speech ready for that dark シナリオ.
You will, though, be thinking of these things as you watch "First Man," the 最新の 分割払い in director Damien Chazelle's meteoric career - and sorry for the space pun, but it's 完全に apt. An intimate character 熟考する／考慮する that somehow becomes grand just when it needs to, "First Man," based on the 調書をとる／予約する by James R. Hansen, is a worthy 後継者 not only to Chazelle's "Whiplash" and "La La Land," but to the 宇宙飛行士 films that に先行する it, like "Apollo 13" and 特に "The 権利 Stuff."
It's also, amazingly, the first feature film about Armstrong. Chazelle's partner here is Ryan Gosling, who dials 負かす／撃墜する his obvious 星／主役にする wattage to give an internalized, fully committed 業績／成果 as the "気が進まない hero," as Armstrong's own family 述べるd him.
Gosling's 仕事 here is not 単に to give dimension to a mythical American hero. He also has to play a man who famously kept his emotions in check. That may not be an 資産 for a movie character, but sure was an 資産 for the first human to 始める，決める foot on another world.
This image 解放（する）d by 全世界の／万国共通の Pictures shows Ryan Gosling in a scene from "First Man." (Daniel McFadden/全世界の／万国共通の Pictures 経由で AP)
And that's because this stuff was, 井戸／弁護士席, terrifying! We begin in 1961, during Armstrong's 実験（する） 操縦する days. Taking a hypersonic X-15 up for a spin, he's suddenly in trouble; he can't get 支援する 負かす／撃墜する. "Neil, you're bouncing off the atmosphere," comes the rather 関心d 発言する／表明する from below.
He makes it 支援する, though, barely breaking a sweat. As for us, we're irretrievably 動揺させるd.
From the heavens we go to a small home office, where Armstrong is on the phone, trying to find help for his toddler daughter, ill with 癌. His grief over her 運命／宿命 will remain a 主題 of the film until the end. But it remains unspoken, even to his stoic wife, Janet, played here with subtlety and grit by the wonderful Claire Foy.
捜し出すing a fresh start, Armstrong becomes an 宇宙飛行士 in 航空宇宙局's Gemini program. On Gemini 8, he 首尾よく ドッキングする／減らす／ドックに入れるs his 宇宙船 with another before 苦しむing a harrowing in-flight 緊急.
The 分裂（する）-second that separates giddy success from terrifying 失敗, the tiny, claustrophobic spaces, the flimsy 構成要素s, the shaking, the roaring, the 前向きに／確かに 古代の-looking 科学（工学）技術 - Chazelle illustrates all of this, indelibly. And we're 軍隊d to wonder: How did they ever make it into space even once?
On the ground, 一方／合間, we see what it's like to be a loved one. During Gemini, Janet 爆発するs at Armstrong's boss, Deke Slayton (an excellent Kyle Chandler): "You're a bunch of boys making models out of balsa 支持を得ようと努めるd! You don't have ANYTHING under 支配（する）／統制する."
Then there's the 破滅的な launchpad 実験（する）ing 災害 that killed Armstrong's fellow 宇宙飛行士s, Gus Grissom, Roger Chaffee and Ed White . 審理，公聴会 the news on the phone, Armstrong clutches a ワイン glass so tightly, he breaks it and gashes his 手渡す.
But if he has qualms about going 今後, he doesn't show it. "Your dad's going to the moon," Janet tells their boys. Does that mean he'll 行方不明になる the swim 会合，会う, one of them asks? Foy's 注目する，もくろむs ゆらめく with 怒り／怒る as Janet 主張するs - indeed, 命令（する）s - that Neil sit 負かす／撃墜する and tell the kids he may never come home.
She's 権利: One of the more 冷気／寒がらせるing scenes is a 簡潔な／要約する look at 航空宇宙局 bosses reviewing the speech Nixon will give if the men can't get off the moon, and what he'll say to the "soon-to-be 未亡人s."
And then, the 使節団. That famous walk to the launchpad, the 宇宙飛行士s waving, the 賞賛. You 持つ／拘留する your breath imagining how Chazelle will pull off the 上陸 itself. With a granite quarry in Georgia standing in for the moonscape, it's as grand and beautiful as you'd want. And yet it's not a mere recreation of what we've seen before.
There's been a distracting 論争 over whether Chazelle "ignores" the 正確な moment when 宇宙飛行士s 工場／植物d a 旗. It's silly for many 推論する／理由s, but 特に because this isn't a movie about symbols, or myths.
It's about men - 特に one man. After the grandeur of the moon 上陸, an event that still boggles the mind, the movie ends on a 公式文書，認める of extreme 静かな: just two people 星／主役にするing at each other.
It's a bold choice, but it feels 権利. いつかs a movie feels biggest when it goes small. And this one feels big. Chazelle is only 33. One can only imagine how far he'll travel.
"First Man," a 全世界の／万国共通の Studios 解放（する）, has been 率d PG-13 by the 動議 Picture 協会 of America "for some thematic content 伴う／関わるing 危険，危なくする, and 簡潔な／要約する strong language." Running time: 141 minutes. Three and a half 星／主役にするs out of four.
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MPAA 鮮明度／定義 of PG-13: Parents 堅固に 警告を与えるd - some 構成要素 may be 不適切な for children under 13.
This image 解放（する）d by 全世界の／万国共通の Pictures shows Ryan Gosling in a scene from "First Man." (Daniel McFadden/全世界の／万国共通の Pictures 経由で AP)
This image 解放（する）d by 全世界の／万国共通の Pictures shows Ryan Gosling, left, and Claire Foy in a scene from "First Man." (Daniel McFadden/全世界の／万国共通の Pictures 経由で AP)
This image 解放（する）d by 全世界の／万国共通の Pictures shows Ryan Gosling in a scene from "First Man." (全世界の／万国共通の Pictures 経由で AP)
This image 解放（する）d by 全世界の／万国共通の Pictures shows Claire Foy and Olivia Hamilton in a scene from "First Man." (全世界の／万国共通の Pictures 経由で AP)
