Nothing like it

Rating: 10/10 (7 January 2017)

This may be the best movie I've ever seen. It brilliantly uses the trappings of 1940's and 50's movie-musicals to make something entirely unique. I have only seen a few of those movie musicals, but this made me want to watch all of them. The movie uses a fairly unique form of nostalgia, so that those who love the old movies want to watch them, but those who don't know the old movies want to track them down. I saw it with a friend who, while he likes stage shows, hates movie musicals, and he loved it. Usually, movie musicals feel like the directors are trying to decompress a stage show, with most of the energy of the stage being lost in the process. This is absolutely not the case with this movie. I don't think I've ever seen a movie with this much energy. This movie also does something that all all fiction should do: it tells a story in a way only that medium can. It uses the locations, the costumes, and the subtle symbolism that would be lost in any other medium.
First, if you can see it on a big screen, do so. I usually wind up checking my watch or looking at the curtains or thinking about something not involving the theater when I see something on the big screen, but not with this one. The format of the big screen is used to its best here. The big dance numbers feel grand, and the quiet character moments feel personal and affecting. This is to the credit of cinematographer Linus Sandgren, who should win best cinematography, hands down.
The direction of the movie is absolutely astounding. There are many sequences without any spoken (or sung) dialogue that are among the highlights of the movie. I don't know anyone who can do show-don't- tell as well as Damien Chazelle. A lot of character is also reflected in the truly stellar costume designer, Mary Zophres. Not only does these costumes look really, really good, but they are an important indicator of character. For example, the costume we first see Seb in clearly shows the audience that he's really into retro.
I would be remiss to review this show and not discuss the jaw- dropping score. The songs are all excellent, with lovely, jazzy melodies by Justin Hurwitz and witty lyrics by Benj Pasek and Justin Paul. There aren't many of these songs (there's a story reason for that), but they're all gems. I would especially like to call out the final (sung) song, The Fools Who Dream. The melody is somewhat melancholy, but very sweet. The lyrics are witty, with a twinge of sadness. I will talk more about singing and acting later, but this is the song where Emma Stone gives her all. This is also the rare movie where I notice the instrumental score, also by Mr. Hurwitz. It uses recurring themes (or leitmotifs, if you will) absolutely stunningly. Mia and Sebastian's Theme is never sung, but it was one of the songs that I was humming on my way out of the theater. Mandy Moore (no, not that one) takes these tunes and choreographs them with suitably retro sensibilities. This film has drawn many comparisons to Singing in the Rain, and her choreography is a good piece of why. Also, tap dancing. I never get sick of tap dancing.
The actors all knock it out of the park, particularly Emma Stone. The movie is tightly focused on Mia (Ms. Stone) and Sebastian (Ryan Gosling), but the smaller characters are all good. Ryan Gosling plays this role with elegance and arrogance, prickliness and sensitivity. However, he is eclipsed by Emma Stone. Her role is somewhat underwritten, but you wouldn't realize it unless you were staring at the script. Ms. Stone can express more emotion with a slight movement of her eyes than her peers can with their whole bodies. She takes the character and makes her a person in ways the script really doesn't. I will be absolutely shocked if she doesn't win Best Actress in February. The one point of the movie that has some technical flaws is the singing, but I think it's justified. If you are looking to this movie for Big Broadway Belts, you are looking the wrong way. This movie has a quieter style to its singing that works very well. As for the leads, they aren't perfect, but they suit the material they sing. I did not expect Mr. Gosling to sing like that. His singing voice is very unique. Maybe not the greatest technique in the world, but it's very jazzy and distinct. Ms. Stone spends much of the musical singing in her sweet (but slightly breathy) head voice and falsetto, but, as her final song proves, she can also belt. All of the singing is incredibly expressive. The two leads also have glorious chemistry. Every conversation, every dance break, every glance from across the room is believable, and you want these two together the moment they interact.
If you like musicals, if you like Emma Stone, or if you care about movies, you should absolutely watch La La Land.