First Man

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Damien Chazelle is on quite a streak. The 33 year old has directed three movies: “Whiplash,” “La La Land,” and now this one. The Academy has poured accolades on him and will likely do so again for this Neil Armstrong biopic. Chazelle is a very aural filmmaker; sound has been a key element in his first two films. This time, he is playing with the lack of sound. This entire film is a study in minimalism. His first two films were alive with music, colors and strong emotions. In “First Man,” he matches Armstrong’s famously introspective, quiet, and private demeanor with slow scenes, muted colors, and almost no score. Early on, Armstrong’s wife (Claire Foy) tells another woman that she married him because she thought they would have a quiet, predictable life. Chazelle tries to capture that sentiment, while also telling the story of the great risks and incredible adventures that quiet man experienced. It’s quite a feat of film making that he is able to balance both of those so successfully. In particular, I was really struck by the utter silence of those first moments of them on the moon. Instead of playing off of the monumental drama of the moment (which we know he is capable of), Chazelle gives us wonder and introspection. He doesn’t go for the Oh My God! He goes for the hushed wow. These are powerful choices, but they also lead to a film that is a bit distant and emotionally removed from its audience. Ryan Gosling plays Armstrong as quiet, introspective, and emotionally guarded. His muted performance fits the film but is also a bit hard to connect with. The most relatable character is Janet Armstrong. Foy is a major star in the making and she is cleverly carving out her acting bona fides. With this film, “The Crown,” and next month’s “The Girl in the Spider’s Web,” she has established her amazing range as an actor. As Janet, she manages to remain quiet and reserved, while also capturing all of her fears and intense anxiety. It is a powerful performances that grounds the film and creates the one character that audiences can relate to. Through her, we tap into some of the emotional weight of what was going on. This was a well thought out, well constructed and skillful film. Chazelle should be (and probably will be) nominated for best director. Could it have benefited from a little more heart and passion? I don’t know. But, could the audience have benefited from that? Maybe making a not-quite-so-skillful movie might have resulted in a more moving one.