First Man [2018] Full HD Movie Download
Future first-man-on-the-moon
Neil Armstrong (Ryan Gosling) and his fellow Apollo Program team-members
zip themselves into insulated suits fitted with bags to catch their body
waste, strap themselves into narrow seats, wait hours or days
for clearance to take off, then spend a few minutes being shaken and
rolled. The vibrations of the trip rattle their bones and the noise
scorches their eardrums. There might be a brief moment of beauty or peace,
along with a sidelong glimpse through a window of the blue earth, the
grey-white moon, or the blackness of space, but that's generally all the
aesthetic pleasure they get—and maybe all they can handle.
They expend most of their mental energy studying the instrument
panels in front of them and trying to process the information that's
being fed through their headsets by mission control, knowing that one
missed fact or wrong choice could mean their deaths.
But
the most damning reason that each fell short is the same: Audiences were
misled, or the producers deluded themselves. Whether it was unforeseeable
controversy or unwanted presumptions about the stories being told, “First Man”
and “The First” are destined to be forgotten far sooner than anyone planned,
and much sooner than either excellent project deserves.
One of those blunders appears early, in the very first moments of the
movie, during the scene of a harrowing flight Armstrong took in an X-15 rocket
plane in 1961. The scene is true to what happened: Armstrong’s violent ride
into the stratosphere, more than 20 miles above the ground, which took a nasty
turn when he nearly couldn’t return to Earth as the plane began “ballooning,”
or bouncing off the top of the atmosphere rather than slicing back into it. The
scene is true too to the claustrophobic look of the X-15 cockpit. What isn’t so
true is when we look out the window at the wispy carpet of clouds just below
Armstrong’s wings — a lovely enough scene, except that at 120,000 feet,
Armstrong was at about twice the altitude at which even the highest clouds
form. Minor glitch, surely, except that coming in the film’s opening act, it
doesn’t inspire confidence.
For the most part, yes. He indeed had trouble returning to
Earth as the plane began to bounce off the atmosphere instead of slicing back
into it. Armstrong was more than 20 miles above the Earth. The only part of
that scene that isn't as realistic is when we're able to look out the window of
his plane and see the white clouds just below. At 120,000 feet, he was roughly
double the altitude of the highest clouds, so realistically, the clouds would
have been much further beneath him. –TIME
Yes. Though the scene was cut from the final version of the movie,
the First Man true story confirms that the Armstrongs' Houston home
caught fire in the spring of 1964. Janet woke in the middle of the night and
smelled smoke, at which time she alerted Neil. Astronaut Ed White (portrayed by
Jason Clarke in the movie) was their neighbor at the time and jumped the fence
to help. The Armstrongs nearly lost their lives. Neil passed their
ten-month-old son Mark through a window to Ed. He then went to save his
six-year-old son Rick, holding a wet cloth over Rick's face as they made it
outside to the backyard. Neil described the 25 feet to Rick's bedroom as
"the longest journey I ever made in my life." Rick was okay except
for a burn on his thumb.
It’s a matter of perception, but many issues facing
both projects come back to what viewers think they should be instead of accepting what
they are. Based on questionable reporting, readers thought “First Man” was
unpatriotic. If not that, then they thought it was a rip-roaring space
adventure. “The First” was supposed to follow Sean Penn as he leads the first
manned flight to Mars, and even critics expressed frustration when it wasn’t.
To assign obligations on art is as absurd as it is destructive, not only to the
project’s perception in the world but to each individual’s enjoyment of it.
Audience expectations, whether invited or presumed, were the faulty wiring for
both “First Man” and “The First” — it’s almost shocking they both haven’t been
wiped out of the sky already.
Chazelle takes the perceived glamor of space
exploration and shoves it into a tin can. Literally. That’s what the training
simulator looks like that will catapult the Gemini astronauts into space. And
things are not any less claustrophobic and scary when they climbs into the real
thing. You feel woozy and on puke alert just watching it. Imagine what it felt
for Armstrong and fellow Apollo 11 astronauts Buzz Aldrin (Corey Stoll) and
Michael Collins (Lucas Haas). There was no precedent for the dangers they were
facing — only the still vivid memory of astronauts Ed White (Jason Clarke), Gus
Grissom (Shea Whigham) and Roger B. Chaffee (Corey Michael Smith) blowing up in
the cockpit during preflight testing for first-manned Apollo mission.
Even
when "First Man" stumbles as historical psychodrama, it still
represents a giant leap forward for movies about the physical experience of
flight. I wouldn't call the test piloting and blastoff-and-orbit scenes artful,
exactly—there's little poetry in the images—but I don't think they're
aiming for that. They're about single-mindedly putting you inside Neil
Armstrong's body and brainpan, and giving you a sense of how hard it must have
been to focus, work out equations and flip switches with all that motion
and noise battering the senses.
There
is no historical record that Armstrong did any such thing, but some signs
suggest he did. Astronauts flew with what was known as a PPK, or personal
preference kit, which contained any sentimental or otherwise non-regulation
items they wanted to bring with them. Those items may have been personal, but
the astronauts were required to file a manifest detailing precisely what their
PPK contained. Armstrong’s has since gone missing.
And from the moment Armstrong
takes his first step on the moon, Chazelle’s film exists on a plane of the
purest mystery. It’s not the words the astronaut utters for posterity (“One
small step for man, one giant leap for mankind”) or the enormity of the mission,
or even the global cheering (the movie significantly does not include the roar
of the crowd) that matters most. It might be a simple gesture the moonwalker
makes in honor of his daughter, or the soundless blur of space, or our
individual sense of what lies over the rainbow. Chazelle films First
Man with a poet’s eye that cherishes the hush that comes when the
dreams that you dare to dream really do come true.
Chazelle is an extremely visceral director,
more in the mold of a technically adept big-screen showman like Robert Zemeckis ("Contact," "Flight") than the gritty '70s character-driven
filmmakers that he cites as heroes during interviews. The musical
scenes in "Whiplash" were so intense that they sometimes made
you feel as if you were trapped inside a drum during a solo. The
large-scale action scenes in "First Man" play like the most
hellish amusement park ride ever, so unrelenting that you'll wonder how
long you'd have been able to endure the real thing without
giving up and pressing the "Eject" button. The three
stars at the top of this review are for Chazelle and Sandgren's visuals,
Gosling's internalized but rarely mannered acting, the script's ability to
communicate Neil's buried emotions without dialogue, and the bowel-rattling
sound design. If you watch it in IMAX, add half a star but make sure not to eat
beforehand. If you see the movie at night, you may glance up at the moon
afterward and realize that it's nice to look at, but you'd never want to go
there.
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