Cast: Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt
Director: Damien Chazelle
Writer: Damien Chazelle
There’s a reason why La La Land is being regarded as a return for the movie musical, even though musicals have never really left the movies. La La Land was made in the vein of the classic Hollywood musical, which has its own distinctive look and style unlike the musicals of recent years. These are the films which first showed how some thoughts and feelings are too powerful and overwhelming to be conveyed in mere words and expressions, they need to be expressed in song and dance. Recent musicals like Les Misérables and Moulin Rouge! have kept the tradition alive but have tended to place more focus on songs that advance the plot, thus robbing us of the pure expression of music and movement that made the classics so wonderful. The scores and choreography in such movies as Swing Time, Singin’ in the Rain, and West Side Story were just as essential as the lyrics (if not more so) in making this genre the Hollywood landmark that it is. Chazelle has sought to recapture that spectacle with La La Land.
The story follows Mia (Emma Stone), an aspiring actress trying to make it in show business, and Sebastian (Ryan Gosling), a struggling jazz pianist trying to keep the music alive. Both live in LA, a city of dreamers and believers all looking for their big breaks. The first time they encounter each other, Mia overhears Sebastian improvising a romantic piece on the piano, which gets him fired from his restaurant job, leading him to brush off Mia when she attempts to talk to him. They meet again months later at a party where they spend the night expressing their disdain for each other despite the clear attraction between them. In typical Hollywood fashion, the two get together and fall in love. In the months that follow the two share their dreams and wishes with one another and try to help each other achieve them. After a series of failed auditions Sebastian encourages Mia to write a one-act play telling her story so that she might get herself noticed while she encourages him to join a band led his former classmate Keith (John Legend) in order to advance his career and earn a steady income. As the two work to make their dreams come true, the struggles and disappointments they encounter threaten to drive them apart.
When a film is universally lauded the way La La Land was, there’s always a chance that audience’s expectations will be skewed, which is probably what motivated some of the backlash from viewers who felt that the movie did not live up to the hype. Speaking for myself, I don’t think La La Land is the best movie of the year but I do think it is a wonderful, thoroughly enjoyable film that too many people have unfairly criticised (for the most part). For musical spectacle alone, this movie deserves to be celebrated. Chazelle brings such energy and creativity to the musical sequences, favouring prolonged, wide, sweeping shots that allows us to see the beautiful sets and superb choreography in full form. The film makes exquisite use of colour with its lighting, costumes and production design and has such a magical feel to it I couldn’t help but feel awestruck throughout. Whether the leading couple were dancing in the light of a beautiful sunset or amongst the stars, I was enchanted.
One crucial element that made the classic Hollywood musicals so successful was the magnetic attraction of such stars as Gene Kelly, Judy Garland and Audrey Hepburn, and both Gosling and Stone have that star power. He is cool and smooth and she is witty and glamorous. That neither of them is a particularly great singer or dancer doesn’t matter. I suspect that Chazelle wanted to prioritise sincerity over polish and here it really works. The singing doesn’t always have to be pitch perfect or the dancing flawless if the performances and chemistry are strong enough and here the two stars more than deliver. Towards the end when Stone sings her audition song, she doesn’t hit every note but her performance is so heartfelt and vulnerable in that moment that I was mesmerised all the same.
There are some issues I could pick at if I really wanted to, but they would be little more than nit-picks. One criticism that comes up quite often is how the film is essentially a self-indulgent portrait of Hollywood, a movie revelling in its own glamour that doesn’t stand on its own two feet the way the movies it pays tribute to do. I disagree. There are certainly plenty of homages towards the movies of classic Hollywood throughout but it still manages to do its own unique thing without directly imitating them. I never saw this film as a celebration of itself but as a celebration of the movies and the joy and wonder they can inspire. It’s too early to tell whether the film will be remembered as a classic or whether it really does mark a return for the Hollywood musical, but I for one think it’s marvellous. The look of the film is stunning, the music is delightful and the magic of it all is entrancing. When everything came to a head in a magnificent climax that gave movies like An American in Paris and The Red Shoes a run for their money, I was spellbound.