La La Land is the third instance in which its lead actors have been in a film together. That kind of thing can usually be irritating, but in this situation, as the saying goes, third time’s the charm. A stage-style musical that feels as though it came from decades ago, it shows that modern-day Los Angeles still has some magical feeling left to it.
Struggling wannabe actress Mia Dolan (Emma Stone) meets struggling wannabe musician Sebastian Wilder (Ryan Gosling). They fall for each other, do some fun stuff, she moves in, everything is going great…until their respective careers pick up some steam and drive wedges between them.
That story is a very simple and old-fashioned one, but A. fits the retro tone and B. features some well-executed subversions. Refreshingly, it doesn’t serve as a takedown of either industry. It recognizes that the starting block is very conducive to discouragement, and beyond that is rife with greater challenges, yet ultimately posits that such goals are worth pursuing. Or does it? Stressed just as much are the strains that these professions put on them, particularly where their relation- and friendships are concerned.
The two leads are at the top of their game. They handle the emotional dramatic material with aplomb, as they do with going the extra mile and actually sing and dance. Theatre snobs probably won’t be very impressed, but the layperson is certain to be caught up in their abilities, particularly those of Gosling who, as the frequent camera pans show the audience, really is playing piano.
When the singing kicks in, both are strangely soft-spoken. This surprised me with Stone, who really belted it out on Broadway. Her last song – basically her character’s “Maybe This Time” moment – does get there though, and is all the better for it. Overall however, there are far too few songs for something like this.
If it seems like I’m giving exclusive focus on the stars, that’s because the film does; a supporting cast is barely present. J.K. Simmons shows up for less screen time than one of his insurance commercials as a restaurateur version of J. Jonah Jameson that fires Gosling. John Legend gets a bit more to do and even a song, but only one song.
The direction though is quite noticeable and very strong. Damien Chazelle (music seems to be to him what sports are to Ron Shelton) keep things engaging from scene to scene, with fresh eyes given to familiar locales. Plus, for all the talk of how it resembles a play, he takes full advantage of the film medium and fill it with moments (significant or otherwise) that just would not be possible on the stage.
And that’s the real joy of La La Land: reminding us that the there are things that only motion pictures can do. Be those technical or affecting, the wonders which can be achieved by film are displayed front and center.
