“People in L.A. worship everything but value nothing.” So says Sebastian in Damien Chazelle’s miraculous musical romance La La Land. Sebastian (Ryan Gosling) is a passionate jazz musician with dreams of opening his own club, but he’s stuck playing bland Christmas tunes in dingy restaurants. He’s frustrated by the lack of passion people around him bring to their lives, along with the fact that he himself can’t hold a steady job as he pursues his own dreams.
Mia (Emma Stone) faces a similar predicament. She gave up college and moved from her Nevada home to pursue acting, but, despite numerous auditions, she can’t seem to get a call back. When she meets Sebastian, she’s initially repulsed, but quickly she begins to warm to his charms and his zest for life. A romance blossoms, but it isn’t long before reality comes knocking for these starry-eyed dreamers. Can these two build a life together, sharing in each other’s’ burdens and ambitions? Or will the cold hand of failure and the everyday struggles of life tear them (and their careers) apart?
The central question of the film is, how does one continue to hold onto hope in the midst of resistance? How can you reach for the stars when life only seems to give you gravel? It’s a profound question, particularly in a year like 2016, when so many have felt beaten into submission by the woes of human experience.
For anyone feeling downtrodden, La La Land is the greatest Christmas present you could ask for. This is a film that will keep a smile on your face during most of its run time, a joyous celebration of the desires of the heart, and the perseverance of hope through all possible obstacles.
The film is love letter to two of my favorite things: movies and jazz. Chazelle already examined the passion of jazz music in the stellar Whiplash, but that film was dark and emotionally brutal. In contrast, La La Land is an infectious, upbeat and ear-catching marvel. This is the kind of film where you can feel the love of movie-making stitched into every frame, a film where the depth of passion and vision behind its creation is palpable and, frankly, astonishing.
La La Land is billed as a musical, and a musical is really only as good as its songs. Thankfully, Justin Hurwitz’s tunes are mostly great. I’ve been obsessed with this soundtrack ever since I walked out of the theater (and am a particular fan of “City of Stars” and “The Fools Who Dream”). The dance sequences are also phenomenal, from the Fame style jaunt in the midst of an L.A. traffic jam that opens the film to a gorgeous tap-dancing sequence that hearkens to Gene Kelley and a dreamy flight through the Griffith observatory that is its own wondrous creation.
Thankfully, Chazelle’s dialogue is every bit as masterful as the songs. The writing throughout is funny, relatable and emotionally resonant. But what really takes the film to another level is the performances. Ryan Gosling and Emma Stone are no Astaire and Rodgers, and that’s what makes them so good. Their dancing is charming, their singing voices more than adequate. But, two struggling artists shouldn’t be masterful performers; it makes more sense that the characters would be rougher around the edges. To keep them from perfection is to keep them relatable (though still impossibly gorgeous).
That’s not to discount the marvelous work by the two leads. This is Stone’s best-ever role, proving once again her talent for giving nakedly emotional and absorbing performances. I’m a big Gosling fan, and this role shows off both his comedic and dramatic talents expertly. Despite the film’s flashy style, I never felt like I was watching “movie stars” on screen. I felt like I was watching Mia and Sebastian. These roles feel lived-in, and that extends to the supporting cast (including a surprisingly excellent John Legend).
La La Land’s ending is not exactly a happy one, but it feels authentic, just like the rest of the film. There’s not a false note in sight. It is in many ways a simple film, but it’s not simplistic. It has a lot to say about the importance of holding onto dreams, and even conveys the welcome message that being traditional and old-fashioned isn’t always a bad thing. Some may call La La Land itself old-fashioned. If that’s the case, then I say it’s hip to be square.