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Even the repeated sight of Katherine racing from the Space Task Group on the white East Side of NASA’s campus to the “colored” rest room on the West Side, half a mile away, adds to the film’s seriocomic momentum. He keeps alternating risk and humor, tension and release, with a jolly and exciting forward motion.
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This scene sets the movie’s comic-dramatic rhythm on track, and Melfi never jumps the rails.
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When the cop asks for identification, he learns they’re en route to NASA’s Langley Research Center in Hampton, where, Vaughan adds, they do “a great deal of the calculating getting our rockets into space.” When the cop begins “I had no idea they hired-”, Vaughan quietly cuts in: “There are quite a few women working in the space program.” The women end up racing to work with a police escort. “No crime in being Negro neither,” says tough, outspoken Mary. “No crime in a broken-down car,” says the sage and steady Vaughan. At the start of the story proper, Henson’s Katherine Goble (later to become Katherine Johnson), a grownup prodigy now working as a “computer,” Mary Jackson (Monae), a computer with the brain and drive of an engineer, and Dorothy Vaughan (Spencer), their unofficial supervisor, are having car trouble when they see a Virginia state policeman heading their way. He encourages his actors to play on that duality with wisdom, anger, and a nuanced sort of farce. Second, Melfi never loses sight of his heroines’ dual struggle, as women and as black people. The archival footage reminds us that astronauts ride into space on the force of quaking, timed explosions. (Right before he delivered the quoted line, JFK said, pointedly, “There is no strife, no prejudice, no national conflict in outer space as yet.”) The contest for the cosmos also supplies the film with some ticking-bomb suspense. Kennedy, who proclaims, in a newsreel clip, “We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard.” The concentrated chronology allows Melfi to bring home the message that an appeal to national ideals in one area, like the space race, can open up new frontiers in others, like civil rights. citizens into orbit-thanks partly to the soaring rhetoric of President John F. Americans, not used to playing catch-up, worry about the Soviets conquering space with Sputnik satellites and cosmonaut Yuri Gagarin, but are also thrilled at the prospect of putting U.S.
#SOND TRACK FROM THE HIDDEN MOVIE MOVIE#
The movie sets off revelatory tingles as it chronicles NASA’s exploitation of its female calculators-known as “computers”-and then its adoption of electronic computing with a massive IBM mainframe.įirst, Melfi smartly collapses much of the history of these stellar number crunchers into 1961 and ’62. Melfi’s showmanship puts a gloss on the material while retaining its freshness. Henson, Octavia Spencer, and Janelle Monae, but also ace actors Kevin Costner and Mahershala Ali-to glide engagingly and intelligently from drama to comedy, from irony to uplift. Vincent), imbues his complicated narrative with a three-part clarity that allows his cast-not just his gifted leads, Taraji P. The creators of Hidden Figures, a fictionalized history of the black female math wizards who helped get NASA off the ground in the 1960s, make it look as easy as one, two, three. Launching a bright, rousing entertainment about a real-world subject onto thousands of movie screens is a major feat.