Gosling and Stone shines and as a result Chazelle marks his name on the wall.
Chazelle is on a strike. With successive jaw dropping projects coming out, his passion grows more intense and the cinema much larger. Coloring the 70mm screen with rich mesmeric visuals, the director, Damien Chazelle is boasting his love with proper understanding of the Hollywood culture that he so blindingly adores. Not an inch goes by in the film that looks pretentious, working over a year on editing along with Tom Cross, Chazelle wishes you to understand the “if’s” and “but’s” of this show business in one note. And boy what a note it is. I am sorry but that hooked theme of Justin Hurwitz, whispered in every line of the film always sobers me up.
All hail the production team for carving out this desert as fresh as it looks, from clothes to designing and from locations to set pieces, the view gets better and better and so does the performance. And daunting as this task may sound, but Emma Stone and Ryan Gosling might be the new Woody Allen and Diane Keaton. But unlike them they aren’t quirky but are goofy about the relationship and flirty about their first love. If Stone going over the montages of failed auditions is a threat, then Gosling on piano is her equal competitor.
I have always preferred them alone, one is happy being stubborn and intuitive- something that she later on adapts from him- and other being mature and hard on herself. Together, they would fall apart, they are meant to be, no matter how in sync are they while dancing and how pitch perfect are they while singing, their rhythm is too vacuumed by the outer world to float in one room, maybe they should have just stayed in that cinema hall, but despite of claiming it to be a La La Land, this is the reality, they had to get out.