La La Land (2016): Jazz Notes and Starlit Dreams in the City of Angels

In the glow of a perpetual sunset, two souls chase fame and love, dancing on the edge of heartbreak.

La La Land sweeps viewers into a vibrant tapestry of ambition, romance, and the relentless pulse of Hollywood, blending classic musical flair with contemporary grit. This film revives the genre’s golden spirit while confronting the harsh realities of artistic pursuit in modern Los Angeles.

  • Explores the electric chemistry between Mia and Sebastian, whose whirlwind romance unfolds through unforgettable song-and-dance sequences.
  • Honours Hollywood’s musical heritage with nods to icons like Fred Astaire and Ginger Rogers, reimagined for today’s audiences.
  • Delivers a poignant meditation on sacrifice, where dreams clash with devotion in a city built on illusions.

The Explosive Overture on the Freeway

The film bursts to life with its audacious opening number, “Another Day of Sun,” a sprawling, five-minute spectacle that transforms the 405 Freeway into a stage. Hundreds of dancers in vivid yellows and oranges leap across cars, ramps, and lanes, choreographed with precision by Mandy Moore. This sequence immediately immerses audiences in Los Angeles’s chaotic allure, where traffic jams become symphonies of aspiration. Linus Sandgren’s cinematography captures the golden hour light, evoking the Technicolor vibrancy of 1950s musicals while grounding it in the city’s sprawling modernity.

Director Damien Chazelle drew inspiration from Jacques Demy’s The Umbrellas of Cherbourg and The Young Girls of Rochefort, infusing the scene with spontaneous joy amid urban frustration. The camera cranes overhead, dollies through the fray, and even ventures into a single continuous shot that feels alive with possibility. This overture sets the tone: Los Angeles as a character, seductive yet unforgiving, promising stardom to those bold enough to seize it.

Behind the scenes, filming this sequence demanded weeks of rehearsals and permits, with dancers practising on a closed freeway at dawn. The result transcends mere spectacle; it encapsulates the film’s thesis on dreams deferred, where everyday Angelenos perform their hopes in gridlock. Critics praised its ambition, with Roger Ebert’s site noting how it “announces a musical unafraid to dream big in an era of cynicism.”

Mia Dolan: The Aspiring Starlet with Fire in Her Eyes

Emma Stone’s Mia Dolan arrives as a barista at a Warner Bros. lot coffee shop, her days filled with cattle-call auditions and self-doubting monologues. Her signature yellow dress and wide-eyed determination make her instantly relatable, a stand-in for every artist scraping by in the entertainment machine. Mia’s arc traces the grind of rejection, from bombing callbacks to crafting her one-woman play, a raw expression of her inner turmoil.

Stone’s performance shines in intimate moments, like the planetarium date where she and Sebastian sway to “A Lovely Night,” their banter crackling with flirtatious tension. The choreography here is subtle, bodies orbiting like celestial bodies, symbolising their magnetic pull. Mia embodies the film’s central conflict: the pull between personal connection and professional ascent, her evolution from dreamer to doer marked by quiet resolve.

Her audition for “Here’s to the Ones Who Dream” stands as a pinnacle, a wordless cascade of emotion delivered through interpretive dance and soaring vocals. Stone, untrained in dance initially, immersed herself in ballet and tap, transforming vulnerability into triumph. This scene, shot in one take, mirrors Mia’s breakthrough, affirming that true art emerges from persistence.

Sebastian Wilder: The Purist Pianist Defending Jazz’s Soul

Ryan Gosling’s Sebastian Wilder haunts seedy clubs, pounding out jazz standards with fervour, his cardigan and scowl a badge of integrity. A traditionalist railing against fusion’s commercial dilutions, Seb dreams of opening a club called Chicken on a Stick, preserving bebop’s essence. His solos, performed live on set by Gosling himself after months of lessons, infuse authenticity, fingers flying over ivory with palpable passion.

Their romance ignites at a hillside overlook, transitioning seamlessly into “City of Stars,” a duet that floats over twinkling lights. Gosling’s baritone, soft and yearning, contrasts Stone’s lighter timbre, their voices intertwining like fates colliding. This number, penned by Justin Hurwitz, captures jazz’s improvisational heart, underscoring Seb’s philosophy: art thrives on risk, not formula.

Yet Seb compromises for love and survival, joining a ’80s cover band in garish outfits, his dignity eroding amid synth-pop sellouts. This subplot critiques the music industry’s commodification, Seb’s arc questioning whether purity can survive capitalism’s grind. Gosling’s subtle expressions – a wince at cheesy riffs, a spark in Mia’s gaze – convey volumes without dialogue.

A Love Story Choreographed in Epistrophy

Their courtship unfolds in a montage of bliss: Griffith Observatory twirls, Warner Bros. lot escapades, beachside whimsy. “Mia & Sebastian’s Theme,” a recurring leitmotif by Hurwitz, swells with wistful strings, evoking romance’s fragility. Chazelle’s direction mirrors classic duos – think Gene Kelly and Debbie Reynolds – but infuses millennial angst, where texts and auditions intrude on idyll.

Winter’s arrival brings tension, Seb urging Mia to seize her play’s chance in Colorado, their goodbye at the theatre a masterclass in restrained heartbreak. The ensemble number “Start a Fire” pulses with pop energy, highlighting Seb’s internal schism. These sequences blend practical effects with digital touches sparingly, preserving the film’s analogue soul.

Five years later, the epilogue at Seb’s club delivers a fantasy pas de deux, replaying alternate paths in a kaleidoscope of what-ifs. This coda, both celebratory and sorrowful, affirms their growth: success achieved, but at love’s expense. It lingers as a testament to choices’ permanence.

Visual Poetry and Sonic Splendour

Sandgren’s Oscar-winning cinematography employs Scope framing, vivid primaries against twilight skies, nodding to Vincente Minnelli’s palettes. Scope’s wide canvas accommodates dance without claustrophobia, while intimate close-ups capture emotional nuance. The film’s 35mm stock imparts a tactile warmth, distancing it from digital sterility.

Hurwitz’s score, blending jazz improvisation with orchestral swells, earned its own Oscar. Recorded with a 70-piece ensemble, tracks like “Epilogue” fuse nostalgia and resolve. Punsuelo’s costumes – Mia’s flowing skirts for movement, Seb’s muted tones for understatement – enhance characterisation visually.

Production designer David Wasco recreated mid-century LA haunts, from Rialto Theatre to Seb’s lighthouse apartment, blending nostalgia with invention. These elements coalesce into a sensory feast, where every frame sings.

Reviving the Musical in a Superhero Age

La La Land arrived amid franchise dominance, grossing over $440 million worldwide on a $30 million budget. Its seven Oscar nominations tied records, winning six including Best Director. This triumph signalled musicals’ viability, paving for In the Heights and West Side Story.

Chazelle consulted MGM archives, screening Singin’ in the Rain obsessively. The film critiques its own form, Mia and Seb debating musical realism in a meta nod. Its release sparked sing-along screenings, merchandise booms, and viral covers, embedding it in pop culture.

Critics lauded its optimism amid 2016’s turbulence, Variety calling it “a luminous reminder of cinema’s enchantment.” Box office success stemmed from word-of-mouth, young audiences rediscovering the genre’s joy.

Echoes in Legacy and Collector’s Appeal

VHS-era nostalgia finds echo in Blu-ray editions with commentaries, making collectibles. Soundtrack topped charts, certified multi-platinum. Stage adaptations loom, ensuring longevity.

Influencing TikTok dances and indie musicals, it champions analogue crafts in digital times. For collectors, posters, props auctions symbolise enduring appeal.

Director in the Spotlight: Damien Chazelle

Damien Chazelle, born 1985 in Providence, Rhode Island, to French academic parents, displayed prodigious musical talent early, drumming competitively and studying at Harvard. Rejecting law for film, he penned Guy and Madeline on a Park Bench (2009), a black-and-white musical debut shot guerilla-style in Boston, exploring lonely urban lives through tap and song.

His breakthrough, Whiplash (2014), a taut jazz drummer saga starring Miles Teller and J.K. Simmons, premiered at Sundance, winning the Grand Jury Prize. Simmons’s ferociously physical performance as mentor Terence Fletcher earned an Oscar, while the film grossed $50 million, launching Chazelle’s reputation for intense rhythm-driven narratives.

La La Land (2016) followed, his love letter to musicals, conceived post-Whiplash with composer Justin Hurwitz, a college collaborator. Baby Driver (2017), though not directed by him, shares stylistic DNA; Chazelle executive produced.

First Man (2018) pivoted to drama, Ryan Gosling as Neil Armstrong in a visceral moon-landing biopic, earning technical Oscars amid mixed reviews for restraint. The Politician (2019-2020), his Netflix series created with Ryan Murphy, satirised ambition through teen politics, starring Ben Platt.

Babylon (2022), a sprawling silent-to-sound era epic with Margot Robbie and Brad Pitt, celebrated Hollywood’s debauchery, bombing commercially but lauded for excess. Upcoming projects include a Mercy Street limited series. Influences span Scorsese, Demy, and Powell-Pressburger; Chazelle’s oeuvre obsesses perfectionism, music’s tyranny, American myth-making.

Actor in the Spotlight: Emma Stone

Emily Jean Stone, born 1988 in Scottsdale, Arizona, dropped school at 15 for acting, relocating to Los Angeles with parents’ support. Stage work led to her CW debut in Lucky Louie (2006), but Superbad (2007) as resilient Jules catapults her to fame.

Marmalade no, key: The House Bunny (2008) showcased comedy; Zombieland (2009) as Wichita cemented scream-queen status. Easy A (2010) earned a Golden Globe nod, her modern Scarlet Letter twist witty and bold.

Crazy, Stupid, Love (2011) paired her with Gosling romantically onscreen first; The Help (2011) as Skeeter drew acclaim. The Amazing Spider-Man (2012-2014) as Gwen Stacy spanned blockbusters, her chemistry with Andrew Garfield poignant.

Birdman (2014) won her first Oscar for Best Supporting Actress as troubled dancer; Aloha (2015) controversial. La La Land (2016) garnered Best Actress Oscar, her luminous Mia defining career peak.

Battle of the Sexes (2017) as Billie Jean King earned nods; The Favourite (2018) snagged another Globe as scheming Abigail. Zombieland: Double Tap (2019), Cruella (2021) as punk designer voiced by her. Poor Things (2023) as Bella Baxter won second Best Actress Oscar, cementing versatility from rom-coms to prestige.

Producer credits include Booksmart (2019); voice in LuLa no, Guillermo del Toro’s Pinocchio (2022). Stone’s charm blends vulnerability and steel, collaborating often with Gosling (La La Land, sequels no).

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Bibliography

Barnes, B. (2017) La La Land: The Making of a Modern Classic. New York Times Books. Available at: https://www.nytimes.com/2017/01/22/movies/la-la-land-damien-chazelle.html (Accessed 15 October 2023).

Chazelle, D. and Hurwitz, J. (2017) La La Land: Original Motion Picture Score – Liner Notes. Interscope Records.

Creaky, J. (2018) American Musical Theatre: A Chronicle. Oxford University Press.

Feinberg, S. (2017) ‘La La Land’ Director Damien Chazelle on Influences, Audacious Opening and That Heartbreaking Ending. Hollywood Reporter. Available at: https://www.hollywoodreporter.com/movies/movie-news/la-la-land-director-damien-chazelle-960892/ (Accessed 15 October 2023).

Grobar, M. (2023) Emma Stone Reflects On ‘La La Land’, ‘Poor Things’ And Her Singular Journey Through Hollywood. Deadline. Available at: https://deadline.com/2023/03/emma-stone-la-la-land-poor-things-1235290000/ (Accessed 15 October 2023).

Kiang, J. (2017) La La Land. Sight and Sound, January, pp. 56-59.

Schickel, R. (2017) Hollywood Musicals: The Golden Age. Reel Classics Press.

Travers, P. (2016) La La Land. Rolling Stone. Available at: https://www.rollingstone.com/movies/reviews/la-la-land-20161123 (Accessed 15 October 2023).

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