La La Land (PG-13)
03/04/17 00:40 Filed in: 2016
Directed by: Damien Chazelle
Starring: Ryan Gosling
What follows is the full-length review based on comments that were originally tweeted in Real-time from the back row of a movie theater @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!
During the opening musical number in La La Land, appropriately staged on a L.A. freeway, I thought: “Dear God, what have I gotten myself into?” Based on that intro, I thought the remainder of the movie would be comprised of similarly elaborate musical numbers performed at regular intervals throughout the film. Much to my relief, I was wrong. The movie quickly transforms into an engaging romance/drama with only the occasional song and dance number interspersed throughout the narrative. What ensues is a follow-your-dreams tale where Sebastian (Ryan Gosling), a struggling piano player, wants to open his own jazz club and Mia (Emma Stone), a frustrated barista, wants to become a famous actress. Writer/director Damien Chazelle cannily delays the romance between Sebastian and Mia by arranging a series of anti-meet cutes, which should be a sign to the couple that their love affair is destined to be ill-fated. Casablanca (1942) is referenced a few times in the film and holds obvious significance for the star-crossed couple, particularly in how both films end. LLL seeks to tap into the brilliance of such masterpieces as Casablanca for its dramatic passages and Singin’ in the Rain (1952) for its musical routines. The film is brimming with classical Hollywood nods like the old film posters that adorn the walls of Mia’s bedroom and the Sebastian and Mia’s screening of Rebel Without a Cause (1955) at the Rialto Theater. As such, LLL is a reimagining of the Hollywood musical, a largely retired genre. Ironically, relying so heavily on Golden Age Hollywood themes and iconography has proven to be a double-edged sword for the film. On the one hand, the heavy quotation of vintage films has established the film’s look, mood and atmosphere as well as produced feelings of nostalgia in viewers enamored with such films. On the flip side, it could be argued that the film relies too heavily on early Hollywood tropes and that such an effort was done intentionally, to play on viewer’s emotions and to pander to those in the industry, particularly Academy members. Either way, LLL fails to achieve its goal since it doesn’t adhere to classical modes of storytelling. Indeed, the movie is a mélange of genres (comedy/drama/musical/romance) and is, perhaps, too ambitious for attempting to combine so many disparate story elements. One of those aspects is the jazz appreciation subplot. Whereas keeping the arts alive is an important endeavor, the obvious validation of jazz as an essential, vibrant art form is foisted on the audience and such advocacy is just one more objective the film tries to accomplish. Though many of the film’s romance scenes feel trite, Chazelle’s concluding “the life that would have been” parallel action device is brilliantly executed and infuses the film with an unexpectedly bittersweet resolution. In the end, LLL’s story is the only thing that holds it back from becoming an instant classic. The film’s directing, acting, production values, locations, cinematography and music (especially Justin Hurwitz’ “City of Stars,” which has a wistful “Moon River” quality) are all off the charts. Gosling and Stone’s (in their third movie collaboration) screen chemistry is so searing it nearly makes the film melt, something that actually happens during Sebastian and Mia’s screening of Rebel. There’s far more that works here than doesn’t, and at the end of the day, the film’s unique vision has broadened the appeal and potential for the modern musical. LLL seems to be a strong contender to win Best Picture. It just depends on what Academy voters are in the mood for this year: depressing drama (Hell or High Water, Manchester by the Sea, Moonlight), historical biopic (Hacksaw Ridge, Hidden Figures), inspiring true story (Lion), space invasion flick (Arrival), converted stage drama (Fences), or this film. We’ll find out soon enough.