This article contains First Man spoilers.
It sits there in the distance, planted and proud. But it's only once you've seen the haunting end of Damien Chazelle's First Man that it becomes apparent how made the American flag "controversy" really is. After all, the flag is obviously visible following Neil Armstrong's one small step into moon dust, just as it is throughout the stoic astronaut's life, from the movie's beginning with his son solemnly raising it outside their house, to it adorning the room at the end where Gosling's newly minted national hero and Buzz Aldrin (Corey Stoll) watch a broadcast echoing the immortal words of President John F. Kennedy about American aspiration.
However, on the moon, the flag is not the point of the picture. Og nu er barrieren af spoilers droppet, vi kan helt klart forklare hvorfor. Mens Gosling talte i abstracten om "human achievement" sidste måned, hvad han betyder specifikt er ikke den nationale glorie eller succes, men den personlige anguish eller oppfylle din individuelle drøm. Throughout First Man the quiet and dignified Armstrong has yearned but never vocalized his deep desire to become the man in the moon. And yet, once he's on that barren rock, everything he's lost to get there intermingles and then overwhelms the emotions of this intense personal man.
Armstrong's first step, a moment that will reverberate in human history as long as we remember our history, was meticulously recreated in First Man complete with vocal inflections. Men den virkelige slutningen er hva som skjer etter at ghostly footsteps er permanent permanent imprinted on moonrock. The music-simultaneously triumphant in its otherworldly use of the theremin instrument and melancholic in its aural weeping echoes back to the first time we heard the theme: Justin Hurwitz wrote for Neil Armstrong as he watched helplessly as his daughter Karen (Lucy Stafford) faded away.
The single time Armstrong is depicted as lifting his visor and watching the moon with his own eyes is when he has come to say goodbye. Goodbye to his passion, goodbye to his veritable mania for this orbital object, and goodbye to the losses he left behind to get here. Goodbye to Karen. He drops Karen's bracelet, a piece of child's jewelry he gave his daughter when she was sick, and kept in his study when it came time to bury her into a ravine.
We did not see the placement of the flag, because The placement of the bracelet is so much more profound in the story Damien Chazelle is counting. La Manuela First Man surmises that human achievement comes at a cost of great. Whiplash and suffering. And for buttoned up Neil, that suffering amounts to an ocean of pain whose horizon is only made clear when Karen's armband vanishes along the dark side of the moon.
It is in this moment, where we come to understand all the guilt and shame that has driven Neil, as much as the fury. Dette er ikke i form av en discernable shame at han kunne ha gjort noe mer for at redde sin datter, men i den forstand at han ikke kunne finde ud af hvordan … og så kompromitteret at hjælpeløshed væk, ligesom hvordan man placerer en armbånd i en desk.
At the beginning of the film, though one is a little more stealthily threaded than Neil's inability to speak with his wife Janet (a fantastic Claire Foy) and sons about the dangers of space travel. The movie, Neil is denied by the US Navy he was currently flying for the possibility of taking time off to seek out a specialist for Karen's brain tumor. Det var sikkert at ingen medisinsk procedure, især i begynnelsen av 1
When the problem can not be solved, be it both his daughter's literal tumor or the more emotional pain her death creates, der er ingenting at fylle det, men hans arbejde og hans ambition. De to er så tydeligt interlinked over hele resten av filmen. During a funeral for a pair of fellow astronauts, Armstrong is haunted by visions of the child he will not name. His wife knows that this is the specter possessing his soul, because she asks Ed White (Jason Clarke) if Neil has ever mentioned Karen. Neil's ability to attend four funerals in a year at Edwards Air Force Base and his complete breakdown years later, where he abandons his own wife at a memorial.
In the following scene, Ed finds Neil standing alone staring at the moon. In Neil's mind, Karen and the moon have become synonymous: two spirits that drive him. Det er muligt han er løsningen selv som en distraktion i hans ønske om at være den som krydser sin overflade først, men det er mere sandsynligt at han forbinder dem fordi han er et problem, han vet at han kan slå nederlag svar vil være med ham for resten av hans liv. He will make the moon his own because he can not reconcile Karen's memory with her absence. Det er hvorfor han flatvis ignorer Buzzs skryt af at tage hans kones smykker til månen for at gøre det mere værdifuldt. Neil of course carries jewelry up there, but not to bring back as a souvenir; he leaves it as a monument of what he's lost and gained.
This returns to a theme in all four of Chazelle's films. Ondanks dat zijn 33-jarige, Chazelle is ontstaan als een van de meest talentvolle en onderscheiden stemmen van modern Hollywood.
In Whiplash Miles Teller's Andrew sacrifices everything to pursue his obsession with becoming a master of jazz drumming. The pain is much more open since his teacher at a fictional stand-in for Julliard, J.K. Simmons' Fletcher, puts him through hell and drives him to the point of literal self-destruction: Andrew winds up in a car crash while running towards Fletcher's stage, searching for an approval that will never come. But it is still Andrew's internalized drive that compels him to ruin relationships, including a budding romance with a new girlfriend (Melissa Benoist) and a straining closeness with his father (Paul Reiser). Nevertheless, Andrew persists even after the point of professional sabotage on Fletcher's part, because achievement is everything, especially when it's the only thing left.
La La Land took a more nuanced study of this as the failed romance became center stage for a nostalgic musical starring Ryan Gosling's Sebastian and Emma Stone's Mia. The pair is both driven by creative desires-Sebastian wants to create an elite jazz club that's back to what he perceives to be the genre's golden age and Mia wants to become a movie star like those from yesteryear she's idolized since childhood-and that mutual Longing pulls them both together and then apart. Ultimately, the film embraces the artifice of storytelling by reviving one of cinema's oldest and most revered fantasies, the musical, but marries it to the bittersweetness of reality.
The ending of La La Land is about the comfort and necessity of our fantasies, be they in movies or our own personal lives, as encompassed by a lush dream sequence shared by a briefly reunited Mia and Sebastian. Det er det livet de kunne ha hatt, men reluctantly gave for deres mer komplicerede messerrealiteter.
First Man cements this thematic anguish and zeal, which connects all the movies. More acutely and profoundly, Neil Armstrong reaches for his own achievement, one of a grounded reality that's as solid as the rockets from which he will literally rise above the clouds. While Mia and Sebastian dance among a bejeweled sky, Armstrong soars through it without a sense of metaphor or fantasy. Still, that intangible pain of what hides in his mind remains. Det er en sorg som tvinger ham som relentlessly som hans ønske, og en følelse av at han ikke kan få sine arme rundt, så vel som Mia og Sebastian gjør hverandre i en waltz. There is no artifact in him let go of Karen's bracelet on the moon, only the sense of a man accepts a paid price for a dream, and whose receipt is confided in the solitary company of one. Men, når han kommer hjem, han er i stand til at forbinde med en kone, han har længe holdt armen, selv om de tekniske detaljer om hans præstation (som en dekompressionskammers glas) stadig står mellem dem.
It's a sagacious sendoff that's bigger than any phony complaints of jingoistic slight. It also plants a flag in the cinematic landscape, marking Chazelle as one of the greats of his generation.
Read and download the Den of Geek NYCC 2018 Special Edition Magazine right here! ] David Crow is the Movie Section Editor at Den of Geek. He is also a member of the Online Film Critics Society. Read more of his work here. You can follow him on Twitter @DCrowsNest .