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Size is everything when it comes to Apollo 11, Todd Douglas Miller's final documentary on man's first voyage to the moon, using newly discovered imagery to give audiences an unprecedented and breathtaking view of Neil Armstrong, Buzz Aldrin and Michael Collins. From the enormity of the feat of this trio to the gigantic images and sounds presented, to the decisive work that has been deployed to bring this documentary film to life, it is all about the work. a wonderful and graceful curatorial masterpiece in IMAX (in which he will have a production week starting on March 1st) or, pretty much, on the biggest screen you can possibly find on his release in broad version on March 8th.
On the occasion of the fiftieth anniversary of the famous Apollo 11 flight, it is a film worthy of its content.
Having falsely nurtured indignation against First manSupposed lack of patriotic zeal, Marco Rubio and the right-wing hordes will find little to say about Apollo 11, which is awash with American flags and pride for the nation's achievements. Nevertheless, this is only a secondary note of Miller's documentary, namely the company itself, which she tells through images so breathtaking, so overwhelming, that it is hard to believe that it is real. It was apparently the case also of director Miller, who, while working with NASA and the National Archives to locate all existing images of Apollo 11, had made a revealing discovery: a treasure containing non-existent images. 65mm mission processed – never seen before by the public – with over 11,000 hours of uncatalogued audio recordings.
Sorting and digitizing this film and this audio, which contained tracks from more than 60 key people, including Armstrong and Aldrin, was undoubtedly a mammoth venture for Miller, which only highlights the brilliance of Apollo 11, history and construction are aligned with the huge company it represents. Swaying through a myriad of perspectives at any moment, Miller assembles his pre-existing material with a skillful hand, using divided screens and clever juxtapositions to convey what is not spoken aloud. His film completely avoids the main interviews for an immensive and immediate snapshot of events, which starts about a day before launch and ends soon after the three astronauts return to Earth.
Damien Chazelle First man We were well located next to Armstrong and their company as they traveled to the moon. Unfortunately for this acclaimed film, however, its disturbing recreations pale away from reality. Providing a complete 360 degree view – both inside and out – Miller's truth sequences are a true wonder. With reports from Walter Cronkite and NASA announcements serving as an intermittent narrative of this "dawn of a new age," the documentary places beauty at almost every turn. The splendor of the rocket, standing in front of a crystalline blue sky. The enthusiasm of crowds congregating to tilt their sun-adorned faces and their telephoto lenses to the skies, spied from afar as close up (including from the perspective of a snack stand operator ). The force of the thrusters chest that bursts into action, producing a rain of fire that gives the device a mythical titan appearance rising from a long sleep. At its beginnings, Apollo 11 is nothing impressive.
Throughout his journey, Miller returns to the Mission's control centers, where men dressed in white shirts and black ties sit in front of several rows of awesome computer consoles, highlighting the breadth of work on the computer. land necessary for the realization of this historic expedition. In the cuts of small miniatures of Apollo 11, the director emphasizes the inherent relationship between the micro and the macro, the terrestrial and the paradise. This is also reflected in his reversal between grainy black and white clips showing the crew boarding and piloting the craft (and workers trying to repair a faulty valve) and vibrant looks on the ship shining in the sun: the interaction of monochromes and colors, from inside and outside points of view, gives a global and coherent vision of the many small pieces that were used to create this colossal ensemble.
Apollo 11 has been assembled with extraordinary aesthetic care and skill. It is backed by a superb cinematography of archives from a wide range of sources and by a monumental score of Matt Morton – based on a sea of blaring bass – which reinforces the heaviness of the proceedings and the sense of fear. The white-on-black CGI diagrams of the ship's combat maneuvers provide context for the immediate action to be taken into account, and the textual countdowns of various operations amplify tensions and enthusiasm. Static voices abound, as well as the heroic faces, whether in NASA's control centers or in outer space, where Armstrong, Aldrin and Collins direct their revolutionary vehicle to its destination, make a back on Earth, shave and listen to the radio.
The highlight of the story of Apollo 11 is, of course, the landing and the subsequent time spent on the moon, and in this respect, Miller's film does not disappoint – the descent to the lunar surface, the giant step of Armstrong for humanity and astronauts. The collection of environmental samples is visualized in spectacular scenes filmed from near and far. A panorama of the rocky wasteland of the moon, the shadow of Apollo 11 seen in the farthest corner of the frame, highlights a sense of unthinkable magnitude. In their comments, Armstrong and Aldrin recall the human being at the center of this feat. A catchy sequence punctuated with snapshots showing the two explorers greeting the stars and freshly planted stripes, followed by an uninterrupted plan of their lunar module flying across the surface of the moon – and heading towards Apollo. 11, with which he intends to dock – it is the same most magnificent.
This unparalleled moment gives the impression that science fiction is coming to the real, honest life. And with many plans of machines that fit together and disengage from one another, the Earth sees shine and turn in the background, it claims a striking authenticity that, it is assumed, would marvel even 2001: The Space Odyssey author Stanley Kubrick, long credited by conspiracy theorists as being the man responsible for falsifying the landing on the moon. Here, there is clearly no trickery, only an amazing and celebrating portrait of human ingenuity on an epic scale. Good luck not to burst into shivers and cheers – and maybe even a few tears – while experiencing his majesty.
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