Film Review: La La Land
“I’m Letting Life Hit Me Until It Gets Tired. Then I’ll Hit Back. It’s a Classic Rope-a-Dope…”
The return of director Damien Chazelle this week brings with it a wide range of reasons to rejoice, no more so than remembering just how superb the masterpiece that was Whiplash back in 2015, a film which had the brilliant recognition of landing top of the list for best movies in its’ respective year at Black Ribbon alongside a couple of Academy Awards including a Best Supporting gong for J. K. Simmons who reunites with Chazelle in his latest cinematic venture, La La Land. Going by trailers and other in-your-face modes of advertisement alone, the hype surrounding Chazelle’s latest was unbelievably rapturous to say the least with calls for a shed-load of awards to be swiftly thrown in its’ general direction amongst unanimous rave reviews which concluded with parades of full marks for execution. Where Whiplash was essentially a war movie disguised in the body of a jazz-based drama, La La Land is a full-blown romantic musical, one which is soaked in a wondrously upbeat sense of joy and a rare case of a film which not only lives up to the hype surrounding it but surpasses it two-fold, resulting in an unforgettable cinematic journey which accumulates in you leaving the cinema with a spring in your step, singing and humming the beautiful soundtrack alongside a willingness to see it again as quickly as possible.
Following the intertwining lives of Emma Stone’s ambitious actress Mia and the jazz-infused figure of Ryan Gosling’s Sebastian, La La Land succumbs to the age-old tale of classic musicals by focusing primarily on a relationship gelled together by ambition and dreams, beginning with the first moments in which our leading lovers embrace and eventually concluding in a manner both heartbreaking yet entirely fulfilling. Intertwining the narrative throughout the film are the beautifully written and deliciously choreographed musical routines which although are not as explosive and extravagant as classical cinematic scenes of similar ilk, manage to perfectly suit the overall tone of the movie, with “Mia & Sebastian’s Theme” being the standout track of the soundtrack, a melodic piano piece which accompanies the narrative of their relationship from its’ inception until the end. With Stone arguably stealing the show as the doe-eyed barista, eager to hit the big time in Hollywood, Gosling’s confident yet understated sense of swagger results in a central relationship which oozes chemistry, helped extensively from the pair’s past work in films such as Crazy, Stupid, Love, resulting in a pair of leading characters in which you totally believe in from beginning to end.
Writing a day after the conclusion of the annual Golden Globes awards, it comes at no surprise to see Chazelle’s latest completely sweep the board in a record-breaking bout, with awards for each of the top-billed trio a fitting reward for a movie which in a time of trials and tribulations in terms of the overall world view, reminds you how cinema can allow for a route of escapism in troubled times, particularly a movie as heartwarming as La La Land. If Whiplash was Chazelle’s angry awakening to Hollywood, then La La Land is a commemorative ode to its’ otherworldly appeal, one which embraces the notion of the American dream and a destination where many journey to reach their goals of fame and fortune. In the case of La La Land, Chazelle has found his Citizen Kane, his Singing in the Rain, and after its’ inevitable forthcoming award success, the cinematic spectrum will most certainly become his oyster and as an avid fan, I cannot wait to see what happens next.
Overall Score: 10/10
Posted on 10/01/2017, in Uncategorized and tagged Damien Chazelle, drama, Emma Stone, Film 2017, Film Review, J.K. Simmons, John Legend, Justin Hurwitz, La La Land, Musical, Romance, Rosemarie DeWitt, Ryan Gosling, Tom Cross. Bookmark the permalink. Leave a comment.