Chazelle makes sure we can see Gosling and Stone in full when they dance, right away proving he’s a better director than Baz Luhrmann or Rob Marshall. But when Sebastian complains about the dumbness of a tapas restaurant that’s also a samba club, Chazelle sets up a problem for his film that lesser directors spare themselves in their egregiousness. He raises the question of why people love crap, then answers it by making the kind of crap people love.
I enjoyed watching the movie quite a bit, and at this very moment I am listening to the melancholy song at the movie’s heart (“City of Stars”), and I am enjoying that experience as well, because the song is good; I am also, at one and the same time, loathing myself because the movie is loathsome. And that is a weird position to be in. And that is what I want to talk about.
For Chazelle, “Another Day of Sun” functions as “a warning sign to people in the audience. If people are not going to be comfortable with it, they’ll leave right away.” La La Land thus almost dares audiences to accept and celebrate this unrealistic cinematic convention, and for a 21st century musical, that’s a somewhat rare approach to take.
La La Lame. Fists what it pitifully tried to pay homage to. 50.cal rounds worth of clichés. Emma Stone carries the whole movie by herself. Gosling is invisible and plain. Chazelle's a phony & pretentious wide-eyed "film lover" that "creates" a hollow, shallow, & meaningless film. A corpse has more spunk than this. Predictability fest. Nothing sadder than puke soup sold as sophisticated Vichyssoise. G'ahead, Oscar it∇
Even if seemingly it distances itself from a sugary reconciliation this new look at old classics of the genre bears all the marks of ideological filmmaking and of deeply embedded reactionary pragmatism in Hollywood vocabularies. Visually, it is artificial artifice (light years behind Demy's magisterial films, which breathe life into artifice), acted along the well-known emotionally manipulative Hollywood formulae.
No substance and little drama. Besides the ending rendezvous, there's always only a slight hint of any kind of complication and it's always resolved too easily and rather quickly. Gosling and Stone have chemistry/charisma, but their thin, archetypical characters give them nothing to work with. La La Land is the shoeshine boy of musicals, polishing the boots of greater films and directors of the type.
Every new generation has the right to believe to be the first one to have discovered musical comedies. So after 'Cabaret', 'Hair', 'Chicago' and 'Moulin Rouge', here's 'La La Land'. I simply regret that the only great American musical of the last 50 years, Francis Ford Coppola's 'One From the Heart', has been disregarded since its theatrical release. Recommended.
A rather arid and calculated exercise in conventional Hollywood cliches with a few retro-euro touches as added garnish. Are we so starved of musicals now (yes, is the answer) that such a wafer thin outing catches the eye if not the ear? Demy did it better.
I am aware of the influences: Singin' in the Rain, An American in Paris, Astaire/Rogers, the New Orleans Jazz scene, the meta flourishes, the hipster muso sensibilities, memories of past love, and high-minded aspirations of romantic millennials. I get it. Stone and Gosling are a delightful pair, and Chazelle proved a commendable director with 'Whiplash', but it is far more self-congratulatory than genre-defining.
há um momento conseguido, perto do fim do filme, em que o Goshlingue já no seu clube vê a saloia e quase paralisa. Mas não é esse o momento, é a seguir, quando se senta ao piano e há uma pausa de alguns segundos, de vazio, silêncio (que tanta falta faz neste pseudo-musical, no lugar do fogo de artifício, ou só do artifício, porque fogo nem vê-lo), de tensão, em que pensamos que se calhar nem vai conseguir tocar, mas
Thank you La La Land. You show me insanely colorful, horrifyingly beautiful, supremely egocentric and all the more wonderful dream with a certain man's dreadful egoism & deepest insanity by distorting so long movie history, jazz history & American history into individual preference. Thank you Damien Chazelle, I can't say anything except that. But Thanks. Don't mind that accident. GO, Damien Chazelle.