For Love at Art

Rating: 10/10 (25 April 2017)

What better way to use my first review for this wonderful movie. La La Land is the new project of Damien Chazelle, director who followed when he showed a Hollywood of what was capable with his exciting Whiplash. And it's that, if we talk about Chazelle, we talk about passion, and the love he brings loaded on video every time he plays a camera. We're facing one of the best cinematographic works of recent years, inviting to dream, love, singing, dancing... And for this, they put us in the context of the two protagonists, Mia Dolan played by Emma Stone and Sebastian Wilder, played by Ryan Gosling. This endearing pair of artists have already worked seamlessly on previous tapes, performing the roles of an aspiring actress and a jazz pianist who end up falling in love after being in various situations in the city of Los Angeles. From the premise, which we have heard of her a thousand times, we can find in this story also miles of reasons to know that it is not the typical romantic comedy. Shops that deal with a special musical from the outset, in the that each melody fulfills both the sound perfection and the development of the characters. We assimilate that the soundtrack shares from the beginning, a ligature with each protagonist, and that isn't in a euphoric moment of the jazz pianist, the music creates more euphoria still. Each scene is pristine, bright, pure and visually beautiful. It has a classic tonality that honors the great tapes that made the history as ''Casablanca'' (Michael Curtiz, 1942), ''Singin' in the Rain'' (Gene Kelly & Stanley Donen, 1952), ''Rebel Without a Cause'' (Nicholas Ray, 1955), or ''The Young Girls of Rochefort'' (Jacques Demy, 1967) and many more, which have a direct influence on this film. For this, the director proposes a photograph that also shines or degrades depending on the state of the characters, with a use of bright and radiant color in much of the film, in moments of happiness, desire to succeed, euphoria, in the pursuit of dreams, and some more mature, dark, in the conflicts between the protagonists, in their cadences as artists or in a less ideal future than at the beginning. Around this circle of genius left the music and photography, we have two great Hollywood actors in the role of these artists, who completely fill that gap we need. We could no longer imagine another that wasn't Emma Stone in this role. There is a great job behind all of this, and yet once you don't destabilize by a good dance canteen, I seem to be a positive point to the cause, since you grant realism to every scene however ideal. These are recurrent in the film, since Chazelle wants to tell us the sacrifices (in this case love) that have to end up making our dreams come true. The memories that only the characters have in them, or use the melancholy with all the aforementioned resources, makes this tape the transmission of love that sits, in a way not tacky, with versatility, gives the same musicality to the dialogues. This perfect couple, with a relationship from outside totally normal, is also complete inside, as happens in reality. The question: can it destroy a relationship of personal ambition?, could define the film. Life puts the obstacles that each person limits in one way or another, until reaching the goal. Taking everything said in the conclusion, he found one of the finest worked finishes of the past times, which he was lucky enough to enjoy several times on the big screen. It's sweet and cloudy at the same time, it is a smile and a tear. A tribute to the cinema that only the political correctness has deprived him of the Oscar to the Best Picture.