It’s not going to replace The Sound of Music in the pantheon of greatest musicals, but it’s a nice throwback to Old Hollywood with a modern sensibility.
La La Land is the kind of film that you thought was consigned to the scrap heap of Hollywood history. In other words, it’s a boy-meets-girl love story with song and dance performed by two charismatic and attractive leads. It’s colorful. It’s fun. It’s a film with a smile on its face that wants to entertain you. Ryan Gosling is the idealistic jazz musician, Sebastian, and Emma Stone is aspiring actress, Mia. Even with its bittersweet ending, the film is refreshing because of its unabashed old fashioned approach.
Besides the love story, La La Land deals with the question of what it means to be an artist and being true to your principles by finding your own voice. Sebastian is the quintessential jazz purist who wants to rescue jazz from cultural oblivion. He dreams of opening a club that features Honest Jazz, but bides his time playing lounges and 80’s cover bands. Mia is just another actress hunting for scraps in the Hollywood meat grinder until Sebastian encourages her to tell her own stories by developing her long abandoned writing.
More specifically, the film addresses the ideological divide in jazz between innovation and tradition, and which takes priority when it comes to attracting audiences. Is jazz a fixed tradition with specific, definable parameters or is it a blank slate which must incorporate modern technology and borrow from other idioms in order to innovate and attract audiences? In Sebastian’s case, his version of artistic radicalism was to return to jazz tradition despite being given an opportunity to play in John Legend’s globetrotting pop/R&B act.
In one scene, the film does an excellent job showing the chasm of misperception between the jazz aficionado and the casual consumer. Mia tries to explain that she finds Kenny G perfectly enjoyable and her parents would put on a smooth jazz station as background music. Instead of being an elitist snob, Sebastian draws her attention to the musical action happening on the combo performing in front of them. The film clearly wants us to see the beauty in jazz that Sebastian sees and show what makes jazz such a dynamic and rich art form.
Where La La Land really shines is in the romance between Sebastian and Mia. How long has it been since Hollywood unironically presented the pursuit of love and companionship between a man and a woman as a virtue? Hollywood has been so far up its own ideological ass for so many years trying to fulfill every politically correct agenda that a scene with Sebastian and Mia holding hands in a theater while watching Rebel Without a Cause feels pretty radical.
It’s multicultural, but it is blessedly free of hamfisted racial or identity politics. Sebastian’s sister marries a black man, but they didn’t insert some tortured narrative about racism. The jazz club scenes contained multiracial audiences and showed people getting along and having a great time enjoying an art form that has succeeded in building cultural bridges. Since Hollywood seems so solidly intent on propping up politically divisive narratives by constantly emphasizing America’s sordid history in films like Race and Birth of a Nation, the absence of these tiresome themes in La La Land is noticeable and welcome.
The film is not just a candy coated sugar high though. The tradeoffs, compromises, self doubt and financial insecurities which come with the territory of being an artist create the emotional and dramatic tension between the characters. Artistic idealism is an admirable virtue, and one which resonates with me, but Damien Chazelle is correct to point out that absent clear communication, the pursuit of a stable family life and the artistic dream can easily become irreconcilable goals. It’s great to see that the pursuit of artistic individualism is upheld as a heroic virtue, but it’s worth remembering that it is not an ironclad promise of financial remuneration or commercial recognition.
Needless to say, the SJW media factions and progressive Twitterati have predictably heaped condemnation on La La Land for the very reasons that it’s good. Hopefully, studios will pay more attention to the positive acclaim and box office receipts, think twice about pushing ideological agendas, and remember that people enjoy being entertained and watching attractive people fall in love on screen.