LA LA LAND (PG-13)
Released by Lionsgate
Reviewed by Adam Mast
LA LA LAND is the real deal. It’s magical. It’s pure, unfiltered joy. It’s the kind of dreamlike bit of cinematic exuberance that causes one to smile without even knowing that they’re smiling. From the opening frames in which countless frustrated Los Angeles drivers energetically exit their vehicles and break into an epic song and dance number while stuck in an all too typical southern California traffic jam, this creative musical immediately sets the stage for the kind of vibrant experience that’s to follow. Yes, there are moments that are familiar and even a little clichéd , but no matter. It’s all about the execution.
At the heart of LA LA LAND are two dreamers: Mia (Emma Stone), a struggling actress who–when not being virtually ignored by snobby Hollywood types during auditions– serves as a coffee shop barista all in an effort to make ends meet, and Sebastian (Ryan Gosling), a conflicted jazz musician who’s ultimately faced with the decision of either doing what he loves or making undesirable compromises so that he can pay the bills. As individuals, Mia and Sebastian are sweet-natured if a tad defeated by their hardships, but once these two get together, said hardships subside as an undeniable connection is made. Those hardships eventually rear their ugly heads again, but in the end, these aspiring artists encourage and inspire one another in immeasurable ways.
LA LA LAND was written and directed by Damien Chazelle, a wonderfully energetic filmmaker who burst on to the scene just a couple of years ago with WHIPLASH, an electric war movie-like tale of a volatile bond between an ambitious jazz drummer and the militant D-bag of an instructor who would push him to his limits. LA LA LAND, too, delves into the perils and pitfalls that can often come with the desire for success. It’s also an honest and sometimes bittersweet tale of what it means to be an artist and what many of our perceptions of artistry is. Of course, LA LA LAND is also a love story and all of these things are juggled effortlessly by a truly amazing up and coming talent.
As he displayed with WHIPLASH, Chazelle brings a propulsive energy to LA LA LAND. There are a handful of musical sequences that are designed to look like extended, uninterrupted shots and it’s all incredibly exciting, because it makes the song and dance numbers, beautifully choreographed by Mandy Moore (the choreographer, not the singer\actress), all the richer. And the tunes are outstanding, most notably the primary LA LA LAND ballad, “City of Stars,” which plays throughout the film in different musical styles. What’s more, Chazelle’s love of L.A. is palpable. The sights and sounds of his playground are just as meaningful here as they are in a Michael Mann movie (HEAT, COLLATERAL), granted LA LA LAND is a completely different animal. This film is certainly more bright and colorful than it is dark and gritty.
While LA LA LAND certainly offers up the sort of innocence and dreamlike quality that might remind one of the musicals of the 40s and 50s, that innocence is fused with the amusing nature of Woody Allen’s EVERYONE SAYS I LOVE YOU, the intimacy, romance and gentle charm of John Carney’s ONCE, and the ambitious grandeur of Baz Luhrmann’s polarizing MOULIN ROUGE (for those of you who suffer from motion sickness, don’t worry… LA LA LAND is far less dizzying.) And the whole movie has a timeless feel because Chazelle shrewdly injects LA LA LAND with an old school sensibility all while peppering his creative effort with different music styles and current technological gizmos. This all makes for a musical that doesn’t necessarily feel like it belongs to any one specific era.
Saucer-eyed beauty Emma Stone positively owns LA LA LAND. Mia is adorable to be sure but Stone brings a healthy dose of energy and vulnerability to match her natural likability. Simply put, she provides LA LA LAND with several emotional powerhouse moments that you’re not likely to forget. Be it her reaction after performing in front of a far-from-sell-out theater crowd to a scene in which she must give the audition of a lifetime, Stone brings the goods. But then, Ryan Gosling ain’t no slouch either. That smirk, that jawline. He’s also easy on the eyes and incredibly disarming as Sebastian. What’s more, Gosling took a rigorous crash course lesson in piano playing all in preparation of this movie, and while I’m no piano aficionado, he certainly had me fooled. Of course, the chemistry between Stone and Gosling–which was also abundantly clear in 2011’s CRAZY, STUPID, LOVE.– is a big key to this film’s overall success. They’ve got it! Look no further than a moment in which Mia and Sebastian hold hands for the first time. It is easily the sweetest and sexiest movie moment of 2016.
Speaking of unforgettable movie moments, LA LA LAND is full of them. The aforementioned opener, a breathtaking dance amongst the stars, a musical number on a park bench, etc. Take your pick. True, the second half of this picture is more somber and reality based than the more magical first half, and a moment in which we learn that Mia might be involved with someone else as she’s in the early courtship stages with Sebastian feels underdeveloped and a little unnecessary. It should also be noted that the ending of this picture will most likely divide audiences. No matter, though. There is absolutely no doubt that Chazelle, Stone, Gosling and the entire LA LA LAND crew commit 100% in the name of our musical entertainment, and the end result is one of 2016’s strongest, most delightful cinematic treasures.
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