Life in Technicolor: “La La Land” Rewrites the Musical Genre

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Contemporary cinema is all about nostalgia these days. But where most films recede into self-referential tedium, along comes a fresh, beautiful little marvel that not only provides an entertaining cinematic experience, but, I think, rewrites the concept of the musical entirely.

La La Land is the darling of the current awards season, and rightly so. The film has an interesting (if somewhat a bit predictable) storyline, excellent music, and some of the best cinematography I’ve seen in recent years. It is not just a musical love story, but a love letter to the idea of Los Angeles itself: the hope, the dream, the romance and the craziness that is the “city of stars.”

Approaching the film from a design perspective, this has to be one of the most gorgeously photographed pictures I’ve seen. Linus Sandgren, director of photography, did a knockout job in capturing not just the remarkable colour tone of the film, but setting that against the backdrop of Los Angeles made for a dynamic pairing. The use of primary colours and accents stood out for me in creating the hyper-reality that contributed to the dreamlike narrative. It’s certainly refreshing to see such attention to detail paid to subtle things like colour (especially after watching the washed-out tones of recent DC and Marvel superhero movies). That photo above captures this aptly: the costume designer expertly manipulated the perfect colour tone to complement both characters; the bright colours for Stone’s Mia and the stylish yet subtle hues for Gosling’s Seb perfectly complement each other whilst making the characters pop on-screen; it’s hyper-real cinema at its best.

The entire picture feels surreal; the breakouts into song and dance, coupled with these vibrant colour tones, truly transport the viewer to this alternate reality. They heighten the sensory experience of the city, and in this exaggeration emphasize the relationships between the characters and magnify an otherwise standard plotline.

Director Damien Chazelle did a good job in getting sterling performances from the leads. Gosling and Stone have undeniable chemistry (this isn’t their first on-screen pairing), and their voices aren’t that bad either. The songs, composed by Justin Hurwitz, are catchy. I loved the use of jazz as a metaphor for the entire film – being used both literally as a narrative device for Gosling’s character Sebastian, and more abstractly as that moment of magic, that tension and dynamism that is Los Angeles and the romance with this city; the romance that emerges from this city. The refrain that becomes the film’s theme is beautiful; it carries the gravitas of the narrative whilst imbuing a certain nostalgia, a subtle longing for that golden age of cinema (this is how you do nostalgia: with classy subtlety, rather than in-your-face rehashing).

Here’s that theme:

That same feeling is conveyed in one of my other favourite numbers, City of Stars:

John Legend’s character Keith captured it best when he said:

“How are you gonna be a revolutionary if you’re such a traditionalist? You hold onto the past, but jazz is about the future.”

In a way this is what La La Land is about: using mechanisms of the past to proffer the idea of a bolder, new cinematic experience: one that uses the traditional tools of cinema (writing, music, cinematography) to create compelling new narratives and entertainment. As much as it is a love letter to the city it’s named after, La La Land is also a homage to Hollywood itself: capturing the frenzy, the absurdity and the magic of showbiz through the perspective of our heroes and their whirlwind romance.

In a world that’s getting darker each day, it’s refreshing to see a bit of technicolor injected into a movie experience that is true, unabashed escapism. La La Land transports you to a time when cinema meant something: losing yourself in the romance of the magic unfolding on the silver screen, getting catchy (but still good) songs stuck in your head, and reveling in the chaos of Hollywood and its bright colours, all in glorious Cinemascope.

As Seb says, “I guess I’ll see you in the movies.”

8/10

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