A Passionate Revival of Movie Musical Styles
Film Review: La La Land – A Passionate Revival of Movie Musical Styles
La La Land was released by Lionsgate and Black Label Media on December 25, 2016. It is considered a comedy/drama/musical production. Damien Chazelle is the director and writer of the film. Major stars in the movie are Ryan Gosling, Emma Stone and Rosemarie DeWitt (Platt & Gilbert, 2016). It has received 14 Oscar nominations and numerous Golden Globe awards. The plot involves the evolving and troubled love affair between an aspiring actress and a disillusioned jazz pianist. This is a musical production that includes drama, romance and comedy in a story that uses established movie musical techniques to convey a timeless love story. According to Alan Scherstuhl (2016),”wanting to be great” is the film’s theme (para. 5). Lane (2016) claims this film was made “to cheer us up” with its glitzy music and dancing in gridlocked Los Angeles (para. 3). La La Land is meant to resemble musical comedies produced during film’s early times, especially in the 1930s, 1940s and 1950s. The film would attract male and female audiences 12+ who share an interest in romantic drama/comedy productions and may have a special interest in nostalgic film musicals and admire stars such as Gene Kelly, Fred Astaire, Ginger Rogers and Eleanor Powell. Professional film critics generally applaud the film, noting its strong music, dancing and storytelling merits. Some had specific criticisms about technical and aesthetic aspects of the film but generally these were minor and not emphasized in the reviews. I thought the film was refreshing and well produced. However, it did not showcase the range of talents usually displayed in classic musicals from films’ “Golden Era.” The story line and plot were predictable. The acting was good, but routine. The singing was serviceable. Except for the spectacular opening dance number, the dancing was good but not striking as in 1950s musical films. Directing was excellent. The art direction and other production elements were excellent and conveyed the messages of the film very well. The songs were workable and advanced the story reasonably well. The musical talent of the main performers was excellent, considering singing and dancing were not their established talents when film production began. La La Land is an excellent motion picture in style and technical proficiency but misses the mark as a complete, traditional movie musical because of some deficiencies in plot, acting quality, singing and dancing.
The plot examines conflicts between strong love connections and the demands of developing a promising career. A striking opening musical dance number sets the mood and backdrop for the film. An aspiring actress, Mia, serves lattes between disappointing acting auditions. A dedicated jazz musician, Sebastian, survives by playing club and cocktail party gigs hoping to open his own jazz club. The two extremely passionate newcomers meet when Mia hears Sebastian’s original jazz music and tries to make contact with him. Plot conflicts emerge when each works to encourage the other in their dreams but still maintain their romance. Although she returns home after several years of frustration, with Sebastian’s encouragement, Mia finally begins securing her acting career. He reconnects with an old music partner to go on the road to make money to build his jazz club. She mounts a one-woman stage production. Eventually, the two feel disconnected to each other because of long absences and conflicting ambitions. Ultimately, each has to decide whether their future will be as a successful performer or involved in a once-in-a lifetime romance connection.
In my opinion, overall, the film was enjoyable but not memorable. The plot and writing were predictable, without many surprises or plot twists to intrigue the audience. Both main stars share a love of nostalgia and the glory days of movies and traditional music such as jazz (Joe Morgenstern, 2016, para. 3). Morgenstern (2016) believes this film “does what the movies have all but forgotten how to do—sweep us up into a dream of love that’s enhanced in an urgent present by the mythic power of Hollywood’s past” (para. 1). Justin Chang (2016) thinks this film reflects the frustrations and ambitions of today’s Millennials (papa. 13). He compares the character Sebastian’s love for jazz to director Chazelle’s love for “an under-appreciated, seemingly antiquated popular art form — one that he nevertheless believes still has many glory days ahead of it” (para. 3). He praises the film as “one of the loveliest things you will experience in a theater this year” (para. 5). Lane (2016) salutes the creative “engine” of the film “that nostalgia can be gutsy and purposeful rather than moony and limp” (para. 6). Scherstuhl (2016) calls La La Land “joyous, open-hearted filmmaking” (para. 4). As a whole, I think this film merits examination as a striking example of the possibilities of movie musicals.
I thought the acting was good, but lacked the charisma the golden era movie musicals displayed. Several scenes provided lines delivered in a nondescript manner. The two stars “connect” when the setting is low key and the discussion involves their dreams and rest of their lives. Noticeably, overall, there is a strong, personal connection between the two main stars; it was their third screen collaboration after Crazy, Stupid Love and Gangster Squad (Chang, 2016, para. 5).
“Chazelle delights in throwing a spotlight on his characters — a timeless, expressionistic gesture that elevates their personal reveries to the level of the sublime” (Chang, 2016, para. 17) Chang (2016) believes the film uses the talents of the two main stars to expand their on-screen persona by making fleeting glances to the past but reflecting the concerns and triumphs of the present and the future (para. 17). Morgenstern (2016) credits the two main stars “each of them peerless in their own way, who’ve brought his [Chazelle’s] buoyancy vision to fruition” (para. 9). Manohla Dargis (2016) comments the film’s audiences accept the plausibility of on-screen performers breaking into a song or dance routine “as if it were the most natural thing in the world” (para. 9), adding the movie uses many of the standard dance moves from classic movie musicals (para. 10). To me, there were places in the film when the acting was touching and sweet, but others where the acting was routine.
The directing and editing were two of the strong points of this film. To get performers into this special type of film production, Chazelle hosted screening parties on soundstages on Friday nights during production. Singin in the Rain and Top Hat were two of the films shown (Rebecca Ford, 2016, para. 14). Chazelle (as cited in Ford, 2016, para. 14) credits the success of earlier Hollywood film musicals to the studio system in which “many different crafts and performers [had] to work closely together.” On producing La La Land, Chazelle (as cited in Ford, 2016, para. 19).remarked,
the challenge was finding a balance between the film's fantastical, romantic musical numbers and its story about a young couple trying to achieve their dreams in Los Angeles. It took a while to find the movie . . . Sometimes we weren't positive we could find the balance we wanted.
Lane (2016) complements cinematographer Linus Sandgren and his efforts to use brilliant Cinemascope film to capture the bursting energy of the film (para. 7). Dargis (2016) complimented the director for his use of a large crane during the opening dance sequence to show “a wide range of fluid motion and high angles”reminiscent of classic movie musicals (para. 12). The editing required nearly one year. The main concern was establishing and maintaining a realistic and consistent focus and perspective for the film. For example, the two main stars visit a planetarium during which they float in space. The setting, music and characterizations had to be convincing and coherent to make this sequence and others work for the audience (Ford, 2016, para. 16). In my mind, the editing and directing made this a memorable motion picture.
The art direction and visual components of this film were excellent, enhanced the production and provided a foundation for the success of the movie. Chang (2016) compliments the film’s production and costume designs, cinematography and editing, noting all “have absorbed all the right lessons from the MGM musical canon” (para. 9). The 40-day shoot for the movie involved rehearsals in warehouses, a 48-hour on-location opening dance sequence on an interstate highway intersection and scenes shot at 60 other L.A. locations, settings critical to effectively telling this Hollywood story. There was effective lighting used for daytime, nighttime and candlelight scenes. Linus Sandgren, director of photography (as quoted in Ford, 2016, para. 16) said, “the entire film should feel like something magical could happen at any time.” This was noticeable when the couple suddenly flies through space while at a planetarium. Morgenstern (2016) provides accolades for the “exuberant dance, lovely music . . . exquisite lighting and fantastical colors” (para. 3). Lane (2016) notices the bright colors of the scenery and costumes featured in the movie as well as the softer hues in quiet conversational scenes (para. 7). Chang (2016) criticizes the sets noting, “some of the more elaborate set pieces seem more audacious in their conception than in their execution” (para. 10). I believe the art direction elements increased the quality of the film and helped advance the storyline.
Music and dancing were important elements in this film and, I believe, two of the reasons for the film’s high praise. Music and dancing were used throughout the film and helped underscore the meaning and importance of key moments; for example, the song and light dance near the park bench early in the movie sets the stage for the rest of the storyline developments. Justin Hurwitz created original music for the film. Benj Pasek and Justin Paul provided lyrics for five of the six big production numbers (Lane, 2016, para. 2). According to Chang (2016), “Chazelle has assembled a vibrant, infectiously hummable pastiche of musical and cinematic styles — an entrancing ode to the glories of cinema past as well as a heartfelt expression of faith in the medium’s future” (para. 4). Change (2016) correctly notes the love story of the two main characters “play out not through spoken words, but through the singular, soulful alchemy of song and dance.” (para. 8). Morgenstern (2016) admits dancing and other production elements in this film do not reach the levels of Hollywood’s golden era because this film did not have the production resources and star talent from earlier times. He adds the “dancing is more endearing than dazzling . . . [and the] singing stirs the heart without shaking the rafters,” all to attract today movie audiences (para. 6). Scherstuhl (2016) admires the musical dance numbers that “explode with so much color and movement that to watch them is something like sticking your head into a confetti cannon” (para. 2). Lane (2016) writes the film “serves notice that song, as much as chatter, will be the means of expression” (para. 4); I would add excellent dancing to that short list. Lane (2016) remembers the refinements of classic musical movie dancing and comments that the two main stars in this film start their dances “with eagerness and charm . . . [but] their efforts are down to earth” rather than “a heavenly ideal” (para. 8). I think the music and dancing were mundane and, unfortunately, not close to quality levels of the golden era movie musicals I have seen.
There are more strengths than weaknesses in La La Land. Critics praise special, endearing features of the film. Dargis (2016) writes the film helps “to make musicals matter again” by bursting out of the ordinary, predictable realism of life into a magical world that transforms viewers (paras. 2 and 4). Dargis (2016) concludes movie musicals “are liberation with a beat” (para. 17). Chang (2016) contends this film tries to synthesize traditional, earlier movie musicals and attract young audiences whose movie musical experience is limited to “Disney cartoons and prestige Broadway adaptations like ‘Les Misérables’ and ‘Into the Woods’ (para. 12). I think some of the strongest elements were the acting, direction, editing and art direction including photography. To me, the weaker elements were the plot, music and most of the dancing sequences. La La Land should be a film that all ages and genders can enjoy because it lifts the spirits of film-goers and takes them back in time to share a magical, whimsical experience that was widely cherished in Hollywood’s golden era. Those who want the same experience as they may have had watching a Gene Kelly or Cyd Charisse movie may be disappointed with this film. Unfortunately, the craftsmanship and traditions used to design and produce those long ago musicals have disappeared. Some shadows of bygone days are evident in La La Land, but you will need to carefully search for them.
References
Chang, J. (2016, December 8). Review ‘La La Land,’ with Ryan Gosling and Emma Stone,
breathes new life into the movie musical entertainment [Review of the film La La Land]. Los Angeles Times. Retrieved February 1, 2017, from http://www.latimes.com/entertainment/movies/la-et-mn-la-la-land-review-20161205-story.html
Dargis, M. (2016, November 23). ‘La La Land’ makes musicals matter again [Review of the
film La La Land]. The New York Times. Retrieved February 1, 2017 from https://www.nytimes.com/2016/11/23/movies/la-la-land-makes-musicals-matter-again.html
Ford, R. (2016, November 3). How ‘La La Land’ went from first-screening stumbles to
Hollywood ending [Review of the film La La Land]. The Hollywood Reporter. Retrieved January 31, 2017, from http://www.hollywoodreporter.com/features/la-la-land-unrealistic-hollywood-dream-critical-acclaim-942793http://www.hollywoodreporter.com/features/la-la-land-unrealistic-hollywood-dream-critical-acclaim-942793
Lane, A. (2016, December 12). Fun in “La La Land [Review of the film La La Land]. The
New Yorker. Retrieved February 1, 2017, from http://www.newyorker.com/magazine/2016/12/12/dancing-with-the-stars
Morgenstern, J. (2016, December 8). ‘La La Land’ review: That’s entertainment [Review of
the film La La Land]. The Wall Street Journal. Retrieved February 1, 2017, from https://www.wsj.com/articles/la-la-land-review-thats-entertainment-1481209205
Platt, M. & Gilbert, G. (Producers), & Damien Chazelle, D. (Director). (2016). La La Land
[Film]. USA and Canada: Lionsgate distributor.
Scherstuhl, A. (2016, December 5). Damien Chazelle’s glittering throwback can’t measure up –
but that’s its charm [Review of the film La La Land]. Retrieved February 1, 2017 from http://www.laweekly.com/film/damien-chazelles-glittering-throwback-cant-measure-up-but-thats-its-charm-7658834
