The movie musical is dead. Or, at least, the original
concept of the movie musical is dead. Starting out as a natural extension of
film’s stylistic origins in theatre, it was full of big grins and bigger dance
numbers about the ways of life and love. And then we started to get inventive
with the format, using it less as a means of showing the fantastical nature of
the musical and more to highlight it as a heavy contrast to the harshness of
reality. Through this, we’ve gotten some proper quality musical films as
Sweeney Todd, Repo! The Genetic Opera, Hedwig And The Angry Inch, Reefer Madness and a bunch of
others that wouldn’t even be conceivable as viable musicals back in the old
days. Now, as much as this evolution of the format has honestly worked out for
the best all things considered, maybe a bit of revivalism could help keep
everything in perspective. And thanks to rising star filmmaker Damian Chazelle,
it seems that we have just that for today.
The plot: Aspiring actress Mia (Emma Stone) and frustrated jazz pianist Sebastian (Ryan Gosling), both trying to make it in Hollywood, end up crossing paths on their respective paths to stardom. As they start to connect and fuel each other’s drive to succeed, it seems that the ways of fame and fortune aren’t going to come as easily as either of them could have thought. When it comes down to the wire and they may have to pick between each other and their dreams, this happy pairing may not be ready to accept the answer.
Well, if we’re going with the romantic approach, this is
probably the best main character pairing we could have ever asked for for
numerous reasons. Their respective track records in romance films, their
previous experience as each other’s love interest in other works, their
seemingly unlimited capacity to be great romantic leads opposite just about
anyone; this film already gets the big thumbs-up on the casting front. Luckily,
their performances live up to that pedigree. Stone not only manages to sell
both the dramatic moments and her singing (which, as far as films are
concerned, is new territory for her) but pulls the ultimate movie musical
gambit of being able to do both at once.
Gosling, who actually has a minor history in music thanks to his band Dead Man’s Bones, does a fantastic job as someone who pretty much lives and breathes music, adding tremendous weight to his songs while also doing wonders behind the piano. J.K. Simmons, whom has already shown great things working with Chazelle before, adds some nice abrasion to his role as the owner of a club Sebastian plays in, John Legend may inspire one too many knowing laughs as the pop ‘sell-out’ musician but he fills those shoes well, and Rosemarie DeWitt as Sebastian’s sister makes for some decent conflict early on.
Gosling, who actually has a minor history in music thanks to his band Dead Man’s Bones, does a fantastic job as someone who pretty much lives and breathes music, adding tremendous weight to his songs while also doing wonders behind the piano. J.K. Simmons, whom has already shown great things working with Chazelle before, adds some nice abrasion to his role as the owner of a club Sebastian plays in, John Legend may inspire one too many knowing laughs as the pop ‘sell-out’ musician but he fills those shoes well, and Rosemarie DeWitt as Sebastian’s sister makes for some decent conflict early on.
This film wastes absolutely no time in setting up its tone
and production approach to its musical numbers, kicking off with the loud and
proud Another Day Of Sun. And my word, even considering how surprisingly good
some of the musical films of the year have been, this is astoundingly
impressive in its working. Honouring the melding of theatre and cinema that
birthed older musical films, the one-take dance sequences and singing show a
lot of confidence in the cast and crew’s ability to keep everything running
smoothly, something that they can absolutely back up. In fact, it’s easily
comparable to The Nice Guys from earlier this year in how assured it is of its
own power. That clarity works beyond just the presentation of the music and
goes into the construction of the songs as well, showing genuine poetry in how
they weave themselves into the narrative and push it forward. Composed by
Chazelle’s right-hand composer Justin Hurwitz, and penned by the duo that gave
us Get Back Up Again from the Trolls movie, it’s honestly not all that
surprising that it turns out as smooth and sweet as it does here.
It’s one thing though to make a film with good music; it’s
quite another to make a film that itself feels like good music, and that is
exactly what Chazelle seems to have done here. Taking one of the oldest staples
of cinema, the ode to the working class city symphony, to its most literal
extreme, the structure of the narrative on its own has a form like a classic
music piece, using the advantages of the film medium to create magic with how
it handles mood and atmosphere. This is initially surprising, considering the
story of people trying to make it in the big city is one of the most overused
conceits there is in the realms of cinema, especially where musicals are
concerned. Framed around the thematic relevance of the seasons of the year,
this film uses emotion and a hybridization of storytelling techniques to create
something genuinely breathtaking. Hell, the fact that the story is as instantly
recognizable as it is might be the single greatest asset of the story itself.
Much like with our relationship with Christmas, it’s most
likely because of modern-day cynicism that the movie musical has taken the
route it has in recent years. We have pretty much been tutored from birth to
know that this idealistic tone when it comes to gaining fame and renown,
especially in the more creative arts, is something that just isn’t feasible in
reality. There have been entire films and schools of thought dedicated to
dissecting the dream and proving that it isn’t worth chasing to the extent that
it has been shown in the past. Well, this film has a markedly different stance
on that point. Using sensibilities of the past and present, it doesn’t make it
a point to hide away from the harsh reality that rejection is a common occurrence
in the glitzier areas of the world… but it doesn’t outright attack the dream
either. It acknowledges that that ideal exists for a reason, as something for a
prospective entertainer to aim for even if they never get it. In the words of
one of the greatest directors working today, we want to be fooled. This ends up being perfectly encapsulated in the
film’s finale, which is a dizzying display of just how much the romantic
escapism of the era is still alive and well inside us and, even if it hurts us
through its own distance, the want to make it in La La Land isn’t as removed
from our current ideals as we may think.
All in all, this is an astounding work that lends credence
to a mindset that the world regularly rips to pieces, while not making the film
itself out to be incessantly idealistic in the process. The cast are all fantastic
in how they balance the dramatic and harmonic elements of the script, which
itself is written with a heady mixture of real-world clarity and starry-eyed
wonder, the music definitely creeps up on you after the film is over in its
catchiness, and the direction exhibits absolute skill in being able to weave a
musical tale that utilizes the best of the genre’s timeline to tremendous
effect.
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