In his first film since ‘Whiplash’, Damien Chazelle is a song and dance music lush ball to former ventures, starring Ryan Gosling and Emma Stone as a dream in Los Angeles
Mia, fume hood for the actress and serves Latte Macchiato to filmstars between Castings and Sebastian, Jazzmusician, plays his cocktails in dark bars to scrape concertos, but as it rises success with a view to decisions begin to weaken the fragile structure of their love story and dreams that way Have worked hard to hold the other, threatening to tear it apart.
It was in the 1970s, a time before the “Grease” was released, when the bright picture of the man in singing and dancing in the middle of a film was not only kitschy and outdated; It seemed rather strange. Not now. Our time has immersed in the retro music culture and has for some time – “Moulin Rouge” the limits of postmodern pop visionary resurgence in the online music video in high field acapella sincerity of “Glee” and films “Pitch Perfect”. So what is it necessary to make a musical present despair exotic look?
“La La Land” by Damien Chazelle, which opens the Venice Film Festival with a lush touch of retro style and glamor, is the boldest musical screen for a long time, and – summit of irony – it is because it is , traditional. Chazelle, the author and director of Schleudertrauma, 31, paid tribute to the virtuous appearance, mood, and stylized features of Hollywood musicals 40 years. In particular 50 (glorious sound shows the cursing of the stars), with additional nuances by Jacques Demy and “New York, New York”. Many people still find old music or believe (wrongly) that are picturesque. However, the form remains stubbornly living in the bones of our culture. Therefore, in La La Land, you will only see a refueling filmmaker bold restoring a musical luxury studio, full of star nights and lanterns that illuminate the innocence of the shoes romance, and two people were in each one another, literally dancing in the air .
“La La Land” located in the Los Angeles contemporary, but his heart and soul rooted in the past, and his characters: Sebastian (Ryan Gosling), a jazz pianist elegant silk tie is a purist in this delightful while listening to plays and Where he plays, and Mia (Emma Stone), a quest for the actress and playwright, who is in the magic of the old movie star, albeit a little less obsessed with it. She works as a barista in the area of Warner Bros. and trimming the audience; If one of them has led to the landing a job as an actor, that would probably be ecstasy, no matter what it was. These two meet, fight and fall in love, and they do it through a series of singing and dancing numbers, composed by Justin Hurwitz (Benj Pasek and lyrics by Justin Paul), with shocking tenderness in his anachronistic striking beauty. The music of the film is such a great success that there are times which provokes the gloomy majesty of George Gershwin.
The film begins with one of the most extraordinary sequences of the year: a musical figure in the midst of a morning traffic along a wide stretch of highway in Los Angeles, suddenly in the hands of the eye -no-ma! The tradition of the famous openings “Touch of Evil” and “The Gambler”. Chazelle Chamber slides and spins with surprising complexity choreography among the passengers on the way to work when they go out one by one, their cars and cover and dance Above them chorus a song of hope, called “Another sunny day.” The sequence makes the impossible look simple, and suggests that a factor “has to do” that could help “La La Land” turn into a reputable new variant. On their way, however, the order, with its flaccid optimism, sets certain emotional expectations. The film has gotten a lot of moodier, and finally. However, Chazelle, by arranging this number with tempting pizazz, pat our again hungry – and stay inside – a romantic enchanted universe.
Sebastian and Mia are among the drivers of the road and stepped after a break from mad horn horns, turning the bird together, like the film trip into the life of Mia with its fourth of its posters for “lily of the valley” and “the black cat” his three Companion attractive, and a part that leads another all-in-one-take music number (or close enough – there are some cuts). Then finally Mia is a little sad, on the street, she listens to a piano solo and enters the bar where the music comes from, and all the picture disappears in the dark (except her) eyes on him. Through an overcrowded room. A strange piano playing. Except that the expression on his face tells him that he is no stranger at all. Not only does it look – it falls. This is the grandeur of the old Hollywood, where we think that just how that could happen.
When Sebastian gets up from the piano, he will be Mia brushing, almost beating (learn why later), and the movie will then be your life, and see how parallel both dreamer trapped on the trade old school entertainment world that the To destroy life from you. They meet at a party by the pool, playing synth-80 keyboards in a shoulder that was separated from the club (by JK Simmons, the resume of hostility to judge judges suspended his Oscar-winning performance in “sling”), and Mia Has not forgiven him to literally turn his back. That means, however, that they are ready for this ancient religion of Hollywood when two happy people discover what the public already knows: Why “do not like” everyone else is that s’ like now. You just need to understand.
The two steps look at the bright carpet of lights that is integrated into the twilight pastel, and Chazelle held a wonderful scene where they sit and talk, and begin to dance as an actor, in 1950, by the beauty of the staging Feeling of calm devotion. These two are mocking together because Gosling tempered wickedness light honey and stone, through a reflexive awareness of liveliness, create an erotic connection, but most of them belong together because … because of the dance. This is what we call the poetry of the twentieth century, and respectfully revive Chazelle and his two actors is a delicate and moving thing. Gosling and Stein bubbling together, as they put it in “Crazy, Stupid Love”. In the Griffith Observatory, where Sebastian and Mia van after him “Rebel Without a Cause,” enter the planetarium and are swept in the stars and is a very broken transcendent moment embarrassed.
The film needs a complication, of course, and after Sebastian and Mia become a couple, ask in the form of a question: How will these people fulfill his dream? Sebastian wants to open a club, but the kind of music that obsession is ripe for a museum. Hardly anyone pays to listen. But it is not until she receives a check check musician with his old colleagues, played by John legendary pretty legend, he begins to listen to reason. They have to make a life and he knows it, so exposed it is part of a band of pop jazz commercial, in which he stands in front of man crowds screaming and playing synth lines playing a little fat sounding.
“La La Land” starts as a fantasy twinkly of innocent, cut with a touch of modern Sass L. A. (especially in scenes casually cruel MIA to hear). In the second half, however, the movie gives a slightly cloudy s-vs-commerce, such as hold-in-your-dream theme version. Sebastián should be in this group? Interestingly, Mia suddenly said it should not (which is disturbed by the unrelenting schedule), and the two got into a fight about it. It is portrayed as one of the things that happens only between a few, but as Sebastian tried to advance and grow on a basic level, it is a little difficult to buy Mia is now the purist. But then it turns out that its cleanliness to take away. You just need a little nudge. Emma Stone, in a brilliant performance, is alternately brave once again angry, full of hope, helpless and dedicated, and when he sings the melancholic ballad “audition” (Les Fous, which dream) that is like a star.
Gradually, as their fortunes begin to fluctuate, the film is part of the stormy turbulence “A star is born” and shimmers the doubt and the separation of “The Umbrellas of Cherbourg”. But all this can feel a bit shocking. Chazelle wants to do a musical that celebrates the classic Hollywood vision of love as a spiritual perfection. But he also wants a love story age of alienation, which circumvents the old simplicities. He has the right to do both; This is what “Moulin Rouge!” A fact. But the kind that you have chosen can not be quite beneficial to the emotional complexity that is later. “La La Land” has too many solos and duets. Stop being a great musical. And given the vitality of the first half of the film, there is a disappointment peak embedded in it. Chazelle clings to the bittersweet truth of the story that counts, but it is a part of you who wants to see him shoot the works, in this initial sequence in the filling to succeed. “La La Land” is not a teacher (and on a certain level, wants to be) work. Still, it is a walk of an exciting movie, hot and full of feelings, passionate, but also deliciously controlled. Over time, swim in melancholy, but his most compelling pleasures are times when the public in a state of exaltation to raise old film, what to think: “What a glorious feeling. I am happy again.
‘La La Land‘ Movie Summit Entertainment Description :
Directed : Damien Chazelle
Produced : Fred Berger, Gary Gilbert, Jordan Horowitz, Marc Platt
Written : Damien Chazelle
Cast : Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt, J.K. Simmons
Music : Justin Hurwitz
Cinematography : Linus Sandgren
Edited : Tom Cross
Production companies : Gilbert Films, Impostor Pictures, Marc Platt Productions
Distributed : Summit Entertainment