Damien Chazelle's last film, Whiplash, was one of my favourite films of the last 5 years. Its intensity and atmosphere stuck with you long after the drumming faded from your head. His new film, La La Land, is a completely different beast, but every bit as affecting. If Whiplash put you off learning the drums, La La Land will make you want to take up the piano instead. And maybe also tap dancing.
A lot has been said in reviews about the opening scene, which apparently had early audiences applauding before the main characters are even introduced. And it is a fantastically well made piece of cinema, filmed in one long and incredibly elaborate take as a traffic jam on a California freeway gradually transforms into a colourful musical number. An opening caption tells us this is winter, but the song is all about the sun glinting off polished cars and brass instruments as twirling summery dresses light up the screen. It sets the tone for the film as well as the setting - the Hollywood of La La Land is a place where the sun is always shining and everyone is full of life and happiness, even when they're in a situation that would normally make the rest of us miserable.
We are then introduced to the leads, Emma Stone's aspiring actress Mia and Ryan Gosling's struggling pianist Seb. Neither of them is where they want to be in their lives, but after a few chance encounters they start to help each other realise their potential. Both Stone and Gosling are brilliant - subtle and delicate in their more emotional scenes, but throwing themselves into the song and dance numbers like they've been dancing together all their lives. I would be very surprised if they don't both get Oscar nominations for their efforts.
The real star here though is Chazelle. The craftsmanship with which this film is made really shows in every scene. It is at once a love letter to the classic Hollywood musical, all soft lighting and tapping feet, and to jazz music. It's obvious that he loves jazz, not just in the fact it's held such a prominent role in both his films, but in the reverential way he commits it to film. When he shows someone playing an instrument, the framing and editing are carefully crafted to match the tone of the song - high tempo tunes are made more exciting by fast cuts and close ups, whereas slower numbers are allowed to fill the room with wide shots and gentle camera movements. At one point Seb describes jazz as a mixture of conflict and harmonies, but that can equally be applied to Chazelle.
The musical genre is perfect for portraying a romance story, and the connection between Mia and Seb builds through a combination of synchronised dance routines and magical realism that will make you wish that sort of thing happens in real life. Yet it also feels completely natural and realistic - the highs and lows of their relationship, despite the Hollywood glow in the background, strike a very recognisable chord. This is a love story like any other, but in its visuals and tone it's also a realisation of love as a concept. Without wanting to give anything away, the ending is a beautiful and perfect way to round off the film.
Despite my high expectations, the only disappointing bit was when I left the cinema and found that nobody was spontaneously bursting into song and dance in the street.
A lot has been said in reviews about the opening scene, which apparently had early audiences applauding before the main characters are even introduced. And it is a fantastically well made piece of cinema, filmed in one long and incredibly elaborate take as a traffic jam on a California freeway gradually transforms into a colourful musical number. An opening caption tells us this is winter, but the song is all about the sun glinting off polished cars and brass instruments as twirling summery dresses light up the screen. It sets the tone for the film as well as the setting - the Hollywood of La La Land is a place where the sun is always shining and everyone is full of life and happiness, even when they're in a situation that would normally make the rest of us miserable.
We are then introduced to the leads, Emma Stone's aspiring actress Mia and Ryan Gosling's struggling pianist Seb. Neither of them is where they want to be in their lives, but after a few chance encounters they start to help each other realise their potential. Both Stone and Gosling are brilliant - subtle and delicate in their more emotional scenes, but throwing themselves into the song and dance numbers like they've been dancing together all their lives. I would be very surprised if they don't both get Oscar nominations for their efforts.
The real star here though is Chazelle. The craftsmanship with which this film is made really shows in every scene. It is at once a love letter to the classic Hollywood musical, all soft lighting and tapping feet, and to jazz music. It's obvious that he loves jazz, not just in the fact it's held such a prominent role in both his films, but in the reverential way he commits it to film. When he shows someone playing an instrument, the framing and editing are carefully crafted to match the tone of the song - high tempo tunes are made more exciting by fast cuts and close ups, whereas slower numbers are allowed to fill the room with wide shots and gentle camera movements. At one point Seb describes jazz as a mixture of conflict and harmonies, but that can equally be applied to Chazelle.
The musical genre is perfect for portraying a romance story, and the connection between Mia and Seb builds through a combination of synchronised dance routines and magical realism that will make you wish that sort of thing happens in real life. Yet it also feels completely natural and realistic - the highs and lows of their relationship, despite the Hollywood glow in the background, strike a very recognisable chord. This is a love story like any other, but in its visuals and tone it's also a realisation of love as a concept. Without wanting to give anything away, the ending is a beautiful and perfect way to round off the film.
Despite my high expectations, the only disappointing bit was when I left the cinema and found that nobody was spontaneously bursting into song and dance in the street.
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