In particular, Witherspoon is excellent: Her line readings are fresh and original, and her body language is just right for a gawky, hoydenish 14-year-old on the eve of womanhood. Even the below-A-list casting helps: Bigger movie stars with more recognizable personalities might have overwhelmed the material. Nothing's forced, every line has feeling, and the pacing is just right. Otherwise, it's done with rare emotional perfect-pitch. Lorne Balfe‘s stirring score also adds to the sense that we are witnessing the last will and testament of an old-school hero from a more innocent age.It's a generic coming-of-age story - think "The Member of the Wedding," "Summer of '42," "A Summer Place," even "Little Women" - and there are moments where Mulligan might have omitted the soupy music, not used slow-motion, or played down the golden-lit prettiness of the setting. Visual effects supervisor Penny Holton and sound designer Nick Adams both do great work here. Opening with zippy animated credits that recall the legendary Saul Bass, The Last Man on the Moon includes spectacular CG sequences that recreate Cernan’s space missions in Gravity-style widescreen dimensions.
The director began his career working in graphics for British television, which helps explain the film’s strong visual look. Both father and son have executive producer credits here. Indeed, the production company behind The Last Man on the Moon belongs to Mark Stewart, son of the Scottish Formula 1 legend Jackie Stewart. Houston, we don’t have a serious problem.Ĭraig previously directed documentary portraits of Grand Prix race car drivers, and there are clear parallels between these two high-risk careers, where great courage meets cutting-edge technology. Teresa appears in the film, as do both wives. Then again, he did carve her initials on the lunar surface, which must earn him some serious Cool Dad points. He also confesses to becoming too selfishly absorbed in his globetrotting spaceman fame, wrecking his first marriage and leading him to miss much of his eldest daughter Teresa’s early childhood.
He ruefully reflects how NASA duties came with a heavy price, claiming the lives of numerous comrades. Looking back over eight remarkable decades, Cernan’s once-prodigious ego is now tempered with grandfatherly hindsight and humility. But it benefits from taking a lifelong view of its subject, with more domestic and emotional detail than previous astronaut movies. The Last Man on the Moon strikes a familiar narrative tone, celebratory and uncritical, with disappointingly little of the Cold War context behind the space race.
He also took one of the first space walks and set the speed record for a manned vehicle, hitting 24,791 miles per hour during Apollo 10’s fiery re-entry into Earth’s atmosphere.īritish director Mark Craig is just the latest filmmaker to recognize the dramatic potential of America’s space program and its clean-cut heroes. He is the only man to have descended to the lunar surface twice, the first as a test run for Neil Armstrong‘s crew. Recruited by NASA in 1966 despite his lack of qualifications, he logged almost 600 hours in space over the next decade, 73 of them on the moon. Navy pilot and record-breaking astronaut.
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Though the subject is perhaps more likely to interest TV buyers, the grand historical canvas and superlative visual effects feel very well suited to a big screen.Ī living embodiment of the American Dream, Cernan rose from a blue-collar immigrant family to become a much-decorated U.S. Inspirational and warm-hearted without straying into Hollywood kitsch, it will be a solid candidate for further festival bookings. this week, The Last Man on the Moon is an effortlessly enjoyable true story grounded in the technocratic post-war optimism of the JFK era. Premiered at Sheffield Doc/Fest in the U.K.
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Still a tireless public speaker at the age of 80, his NASA career was full of fateful twists and daredevil drama, most of it helpfully documented in high-quality archive footage. A real-life space cowboy in the Clint Eastwood mold, Cernan’s epic story is a gift to any filmmaker. Take a pinch of Top Gun, stir in a generous dollop of The Right Stuff, add a light sprinkling of Mad Men and you have the formula for this uplifting documentary portrait of former Apollo astronaut Eugene Cernan.
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