We will never have Paris

************這篇影評可能有雷************

For a long time, I could not figure out why I was not enchanted by 2011’s "the 阿提斯t" like the rest of the world. It had the format of any classic silent movie and the nostalgia for a modern film tribute. However, I was simply bored by it. Why should I care, I asked myself.

That was my biggest worry before seeing "La La Land". There is no doubt that I can enjoy a musical, but what watching experience can it add, if any, to the ones I had with Gene Kelly and Fred Astaire?

"La La Land" surprised me in a most delightful way and made me realize that in order to bring back an almost obsolete genre of film, the apparent nostalgia factor is not enough; the feeling of connection is the real secret ingredient. In 「La La Land」s case, that connection, especially for anyone in their late twenties and early thirties, is the untainted, stubborn and almost foolish passion.

As a rising filmmaker, Damien Chazelle really understands the dazed and confused feelings of millennials. From his first script "Grand Piano" to the fantastic debut of "Whiplash", he excels at using his passion for music (he is a drummer himself) and film making to depict very personal struggles of people with dreams, both mentally and physically. "La La Land" is no exception. Despite of the alluring night skyline at the Griffith Park, Chazelle’s Los Angeles is by no means one-dimensionally romantic. He uses the harsh reality of Hollywood and the generation passing of actors to salute the under-appreciated pursuit of dream and the power of passion in the face of endless trying and failing. The audition that was interrupted by phone calls came from Ryan Gosling's real experience. I suspect that Chazelle wants to show how even for those who eventually make it, the agony and pain associated with the initial zeal never goes away. The solo by Emma Stone's Mia is the ultimate love song to the fools who dreamed, and more importantly, the passion that never dimmed.

For a modern musical, I expected an homage to the Golden Age masterpieces』 grand opening and the big number climax, both of which I did get in "La La Land". What really bedazzled me was the worship to those timeless love stories, at the top of whose list lies the epic romance 「Casablanca」. Yes, there were direct references to movies like "Singing in the Rain", "Funny Face", and "the Red Ballon", but is there any doubt how much Chazelle loves "Casablanca"? From Mia's wall poster of Ingrid Bergman, to the blunt mention of Warner Brothers studio's balcony used in the famous movie, to the final longing look between Sebastian and Mia across the room, I geeked out about the thoughts and details "La La Land" put to pay respects to Bogie and Bergman's legendary tale. When the "City of Stars" rose for the last time, I could not help thinking to myself: play it again, Sam (Seb), for old time's sake. I really appreciate "La La Land"'s twist on the classic ending. I have a long love-hate relationship with the notion of "we will always have Paris"; it just makes Bergman cruel and Bogie heart breaking unnecessarily. Chazelle's approach actually is more aligned with my ideation. The differences in people's trajectories make the 「Paris」 unattainable yet the similarities of people's pursuits always make the love unforgettable. Maybe 'we will never have Paris' is the best and only option love gets, it certainly is the price Mia and Sebastian paid for their passion.

There are other perks of Chazelle's direction that I really enjoyed: the editing of the second act with the focus on Mia's perspective without neglecting the subtleties of Sebastian's (even though I think the first act can be cut 10 minutes shorter); the recurring use of montage to fit the illusion of a la la land; and the pacing of the different chapters/seasons with clear progression of the characters. One honorary mention to the great Justin Hurwitz, who, after an unapologetically intense score for "Whiplash", this time delivered tender and mesmerizing music to prove his worth as Chazelle's right hand man. Between the intro and the epilogue, the theme song "City of Stars" was rearranged multiple times to reflect layers of emotions. With a healthy dose of jazz intertwined seamlessly throughout the movie, this soundtrack balances well between sing-along songs and hummable melodies for a modern musical. It is certainly one of my favorites from 2016.

As for the two leads, the chemistry is undeniable between Ryan Gosling and Emma Stone. I am so glad Chazelle changed the tone of the movie when Gosling and Stone replaced Miles Teller and Emma Watson. The small yet important age raise in actors brings more maturity to the story and more gravity to the love that is past yet endured. It is a clear career highlight role for Emma Stone. I was especially impressed by "the Audition" scene in which she showed depth, vulnerability and dignity at the same time. The only thing I can be nitpicking about is her rather frail singing voice. As someone who was daring enough to challenge Liza Minnelli's "Cabaret", Stone stood out amongst giants with a vulnerable approach to bravura, but it did not hold as radiantly as it could have in an indie musical.

I also want to give a special shout-out to Ryan Gosling in the past year. After "Only God Forgives" and a sincere WTF "Lost River", if I did not lose faith in him, I at least lost interests. He really grabbed my attention again with "the Nice Guys". His comedic timing is so great that I could even compare it to that of RDJ’s in his heyday (Thank you, Shane Black). In "La La Land", he continued his strong sense of timing and effortless delivery. His borderline pretentious yet genuinely passionate on-screen persona makes Sebastian believable and relatable (can you guess that he hated jazz before taking on the role). He had a fantastic scene in which he made a speech about the appeals of jazz. Chazelle's dialogue is quite literal at times, Gosling's pauses and tempo naturalized the script and especially his character. As an unfair comparison, John Legend (sorry John) had a short speech in the movie that I just couldn't be convinced is how regular people talk. I do wish Gosling's posture in tap dance could be as good as that of his waltz, but seeing the endeavors he put into playing the piano, I will still give him a satisfactory. Who am I kidding, he is great :P