"La La Land" Is The Supreme Full-Length Feature Film of 2016 & The Most Sublime Musical Movie of The Last Two Centuries

Rating: 10/10 (8 January 2017)

"Whiplash—"winner of three Academy Awards, one Golden Globe, three BAFTAs, among others—was the shrewd introit of a filmmaker who categorically intended to shake superfluous and commercial Hollywood, a gallant American with a transcendent and irreplaceable film intellect which has to be perpetuated, praised and enjoyed in its entirety in these recession times, he is Damien Chazelle. It was the preliminary feature film of three of the most solemn festivals in cinema, now Chazelle manufactures a modern masterpiece that is going to live on perpetually since not exclusively sketches the reviving of a relegated genre out, but runs blindingly and naturally a romantic study aesthetically stunning, tunefully stunning, narratively stunning, and functionally sublime.
"La La Land" is titled the third film led by the director; this has stars Emma Stone, Ryan Gosling and J. K. Simmons—although with an unusual minor character—among its ranks. Several people have pigeonholed it as melodramatic thing with musical taps, nevertheless, the celluloid transcends its own confines, splitting events course within four branches (the four seasons), which accentuates nature of every chapter in the story; however, although we are witnesses visibly of a narrative segmentation, spectators will not take long to apprehend that it is distributed in three fields directed by different genres and themes, what ultimately leads us to say that they are three independent stories correlated each other.
The story relates idealistic couple's adventures who lives in the district where professional disillusions of the planet settle: Hollywood, an arbitrary fable which will split up our divergent players. She yearns to predominate intransigently in the city of dreams; nonetheless, her aspirations are crumbling and dying by the unsuccessful castings and his job as an assistant in a coffee shop into Warner Bros. (an unbearable face to her suffering). On the other hand, he's a pianist who makes shows at weddings and private bars in order to open his own pub, getting his biggest design: protecting and rekindling the jazz exhausted flame. Later, their lives are adventitiously connected after a nocturnal walk in finding their automobiles, which originates a passionate love, overtakes a series of individual troubles. Although each of them obtained whom they loved, the nature of the unexpected will be at risk and the intrinsic of their relationship will keep them to the edge of the cornice, what in Hollywood would signify a death foretold.
It's irrefutable that Chazelle does not perform a neophyte exercise about actions which unfold with sections accompanied by singing and dancing since in his directional debut "Guy and Madeleine on a Park Bench" in addition to run notably his first steps within the matter, also emerged victorious in emulsifying melodrama with dazzling spontaneities. The initial section focuses on setting us in context within the dominant air through choreographic assemblies exuding pure vintage, these performances are honest reminiscences from monumental MGM productions: "Top Hat," "Singin' in the Rain," "The Umbrellas of Cherbourg," "An American in Paris," and more were potential sources for revitalization of classic musicals. The first take, we detail a broad blue sky by CinemaScope, going down gently amongst the congested and multitudinous vehicular traffic. Each individual listens to dissimilar music styles—an analogy will disperse into progressive musicality—thereon "Another Day of Sun" is the attention epicenter and an ineffable and arduous choreographic display takes place along the vehicle bridge, acts recorded in false long takes as if it were Iñárritu. A frantic and exciting prelude, which adjusts the environment where our main leads are going to get along. In the second part grandiose dances ala Broadway drastically lessen and are replaced by sentimental treatment; and what we cannot forget in a film by the director are the symphonic scores which are maintained potent, nevertheless, it provides gradually more preponderance on screen to jazz. This is where the narrative arcs obtained greater strength and Stone's and Gosling's roles shine with profound and authentic performances. After it moves through the crazy musical of the first part and the plausible dramatic affair of the second section, Chazelle concludes with a final flourish with a sudden, indefatigable, agile and the cunning mechanism in the concomitant of the events which transmute narrative in films; It makes you feel as if the tragicomedy would come to an end, but indeed one twist more is coming. Finally, choreographic ensembles break out again, but this time, we have not seen them with the same dynamism and explosiveness, dances are carefully chosen to express story grief. He provided an inspirational greeting with "Whiplash", with "La La Land" consolidates himself as one of the major American filmmakers, permitting Stone's and Gosling's performances and entire components of the celluloid to receive a guaranteed nomination at the Oscars for this love letter to Hollywood cinema.