- #MIA READING SEBASTIAN HER POEM LA LA LAND MOVIE#
- #MIA READING SEBASTIAN HER POEM LA LA LAND SERIES#
That's the sublimity of Old Hollywood, where we believed that it could happen just like this. Except that the look on her face tells you he's no stranger at all. Then, finally, Mia is standing there, a little desolate, on the street, and she hears a lonely piano and heads into the bar the music is coming from, and the whole image fades to darkness (except for her), as she lays her eyes on. Sebastian and Mia are among the freeway drivers, and they're introduced, after a flurry of angry horn honks, by flipping each other the bird, at which point the film travels into Mia's life: her bedroom with its posters of Lilies of the Field and The Black Cat, her three glam roommates, and a party that leads to another all-in-one-take musical number (or close enough to it - there are a couple of cuts). Yet Chazelle, by staging this number with so much seductive pizzazz, taps our hunger to return to - and stay inside - an enchanted romantic universe.
#MIA READING SEBASTIAN HER POEM LA LA LAND MOVIE#
The movie has a lot of time to get moodier, and it ultimately does. In its way, though, the sequence, with its giddy optimism, sets up certain emotional expectations. Cinematically, the sequence makes the impossible look easy, and it suggests a "gotta see" factor that could help to turn La La Land into a prestige novelty hit. Chazelle's camera glides and twirls with astonishing choreographic intricacy among the passengers on their way to work, as they emerge, one by one, from their cars and flip and dance on top of them, fusing into the chorus of a song called 'Another Day of Sun'. freeway, that is all done in one shot, in the look-ma-no-hands! tradition of the famous openings of Touch of Evil or The Player. The movie opens with one of the most extraordinary sequences in years: a musical number, set in the middle of a morning drive-time traffic jam along a vast stretch of L.A. The ode to movie musicals will now face off against a 'Star Wars' spin-off. The film's score is such a melodious achievement that there are moments it evokes the bittersweet majesty of George Gershwin.
#MIA READING SEBASTIAN HER POEM LA LA LAND SERIES#
These two meet, scuffle, and fall in love, and they do it through a series of song-and-dance numbers, composed by Justin Hurwitz (the lyrics are by Benj Pasek and Justin Paul), that are tenderly shocking in their catchy anachronistic beauty. lot and is always cutting out of work to get to auditions if one of them ever resulted in her landing an acting job, she'd probably be ecstatic no matter what it was. She works as a barista on the Warner Bros.
La La Land is set in contemporary Los Angeles, but its heart and soul are rooted in the past, and so are its characters: Sebastian (Ryan Gosling), a sleek jazz pianist in silk ties who's a cranky purist about what he listens to, what he plays, and where he plays it, and Mia (Emma Stone), an aspiring actress and playwright who's deep into the magic of the old movie stars, though she's a tad less obsessive about her fixation. That's why it feels so right, in La La Land, to see a daring filmmaker go whole hog in re-creating a lavish studio-system musical, replete with starry nights and street lamps lighting up the innocence of soft-shoe romance, and two people who were meant for each other literally dancing on air. Yet the form remains stubbornly alive in the bones of our culture. A lot of people still find old musicals corny or think (mistakenly) that they're quaint. In his splashy, impassioned, shoot-the-moon third feature, Chazelle, the 31-year-old writer-director of Whiplash, pays virtuoso homage to the look and mood and stylised trappings of the Hollywood musicals of the '40s and, especially, the '50s (glorious soundstage spectacles of star-spangled rapture), with added shades of Jacques Demy and New York, New York. So what does it take to make a musical today look unabashedly exotic?ĭamien Chazelle's La La Land, which opened the Venice Film Festival on a voluptuous high note of retro glamour and style, is the most audacious big-screen musical in a long time, and - irony of ironies - that's because it's the most traditional. Our era is immersed in retro musical culture, and it has been for a while - from the visionary postmodern pop swoon of Moulin Rouge! to the online resurgence of music video to the high-camp a cappella sincerity of Glee and the Pitch Perfect films. LOS ANGELES () - There was a moment back in the 1970s, sometime before Grease came out, when the image of people bursting into song and dance in the middle of a motion picture wasn't simply corny and antiquated it had come to seem downright strange.
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