A LOVELY NIGHT IN THE SUN: LA LA LAND (2016) REVIEWED

A LOVELY NIGHT IN THE SUN:  LA LA LAND (2016) REVIEWED

**SPOILER ALERT!**

In light of the FOURTEEN Oscar nominations from the Academy who am I to go against the tide of musical loveliness that is La La Land. Indeed, while I dislike all kinds of award ceremonies per se it does deserve most of the accolades coming its way. Because as the Trump puppet rears his huge, ugly head in the United States and Brexit looms large in the UK we all need something feel-good and nostalgic to lift us; especially amidst the bitter cold of winter.

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Damian Chazelle, who wrote and directed the exceptional drama Whiplash (2014), has sculpted a sunny post-modern musical which soars throughout paying tribute to both Los Angeles and Hollywood. The movie stars Ryan Gosling as an uncompromising jazz pianist and Emma Stone as a sensitive, budding actress who meet in a contemporary yet somehow old-fashioned vision of LA; where magic and love are in the air and the potentialities of dreams are a palpable force.

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Stone and Gosling are a stunning couple and while Chazelle’s leads may not have the strongest voices they serve the songs exceptionally well with an ordinary wonder. The chemistry between the two sparkles as the story entwines their characters within a “follow your dream” narrative. Arguably there could’ve been slightly more differences between the two than the “I hate jazz” tension; but as in the romantic comedy Crazy, Stupid, Love (2011), Stone and Gosling sail through the film with confidence and profound likeability.

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Chazelle throws everything at the story employing jazz, 80s pop, old band numbers, R and B, and ballads. Moreover, all manner of parody, pastiche and cinematic devices are employed to echo the classic Hollywood musicals of yesteryear; the formidable work of Jacques Demy; plus the more modern pop promos of recent times. The opening Another Day of Sun traffic sequence is a real showstopper as Fame-like dancing and singing on motors in an LA highway jam brilliantly establishes the hyper-real and fantastical elements to come.

LaLaLand_clip_playsetlist.jpgIt seems obvious to say that the music in La La Land is to the fore, but Chazelle and the ultra-talented composer Justin Hurwitz commit a verve and soul to the songs and direction. Clearly the characters and lyrics reflect their own personal emotions, dreams and desire to escape everyday existence. While much of the film skims a stylish surface of colour and verve, numbers such as City of Stars and The Fools Who Dream really touch the heartstrings and draw out the internal emotions of the characters.

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It’s hard to criticize such a funny, feel-good movie and as a musical it is probably a masterpiece, however, while the love story served the musical structure really well, I felt that, compared to say Funny Girl (1968), Grease (1977) and Half-A-Sixpence (1967) it arguably lacked a bit of dramatic tension. Indeed, the break-up itself was under-baked and latterly covered by a have-your-cake-and-eat-it “what could have been” fantasy flashback. Yet, this is a minor critique of an incredibly well realised escapist joy.

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So, roll on the Oscars where the film will almost certainly win best film and direction, plus accolades, no doubt, for the musical and technical achievements. The wonderful Ryan Gosling and Emma Stone are certain to be in the fray too. However, while I have seen other more dramatically impactful films such as: Arrival (2016), Manchester by the Sea (2016) and Silence (2016) (not even nominated!!), this remains one terrific musical that will lift the spirits even on the darkest day.

 

 

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5 thoughts on “A LOVELY NIGHT IN THE SUN: LA LA LAND (2016) REVIEWED”

  1. Great review! I agree with you that the movie could have had more drama and there could have been more differences between Mia and Sebastian. Their inner selves are so similar that most of the time their relationship is akin to that of close/best friends or admiring same trade colleagues, and there are not enough differences to say – “they are just different enough to complement and complete each other”.

  2. I enjoyed reading your great review, even though I’m not entirely in agreement with your comments about “narrative tension”. In the classic musical, spontaneous music and dance are in foreground and the narrative is in background. Forgive me but I’ll copy a paragraph from my review which expands my point:
    “Beneath it all there is a narrative but it feels inconsequential to the music. The bitter-sweet romance is just a harmonic scaffold for songs and dance to lift you with promises and hopes then land you onto the rocks of life’s disappointments. The characters of Mia and Sebastian are not developed in great depth because they are avatars for generations of dreamers who have been drawn like moths to fame. But their synergy is palpable.”

    1. Thanks for the positive words. I take your point and as I state that as a musical it is a masterpiece of the genre so your poetic words are accurate. However, personally for a probable Oscar winner I wanted a bit more drama. Only a minor note though as the film was superb entertainment.

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