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At one point, making ends meet by playing for an eighties retro band, he has to wear baggy pants and a blouson with the sleeves rolled up-a noble sacrifice.
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Gosling is at once hangdog and enthused, with a shrug of self-deprecation. as a breeding ground of reverie and hope-a view that began to fade with “In a Lonely Place” (1950), where Bogart’s mug was as glad as a whiskey sour, and died a rainy death in “Magnolia” (1999), as the cast, scattered around town, growled and groaned along to Aimee Mann’s “Wise Up.” There is a storm of singin’ in “La La Land,” but no rain the clemency of the weather is a God-given joke, and, even at Christmas, when Mia walks home after dark, she is clad as if for June. Third, the sequence revives the old-fashioned view of L.A. Second, we are introduced to Mia and Sebastian. First, it serves notice that song, as much as chatter, will be the means of expression. If you want to open the gridlock, “La La Land” declares, then music is the key. Instead, they rampage into dance, climbing onto the hoods and the roofs of their vehicles, making holiday in the heat, and chanting, “Another Day of Sun.” The camera swings and curvets in accord, then rises to survey the scene-half a mile of merriment where none should be. But Chazelle’s folk don’t run riot with guns and baseball bats. That’s what happened to Michael Douglas, in the same fix, in the same city, in “Falling Down” (1993), and remember how he reacted. Cars and trucks are snarled up, going nowhere, and you’re expecting tempers to snap. We kick off in Los Angeles, on a freeway, though freedom is in short supply. So, if they really don’t make ’em like this anymore, why make ’em now? Partly for the most pressing of reasons: to cheer us up. This is 2016, not 1956, and he could send a text, with a starry emoji tacked on. When Sebastian wanders along a pier, whistling, and then emits a low and chesty croon (“City of stars, / Are you shining just for me?”), we have to take a moment to acclimatize. It is rare, nowadays, to see a hero break into song onscreen-and rarer still to see him slip into song as if into something comfortable. To call the film “original,” however, is to raise a bunch of questions, since part of its purpose is to summon up remembrance of things past. Not an adaptation of a Broadway show, or a coda to “Glee,” with a jukebox of preëxisting tunes, but an original creation, with music by Justin Hurwitz and lyrics, for five of the six big numbers, by Benj Pasek and Justin Paul. The boy is Sebastian (Ryan Gosling), the girl is Mia (Emma Stone), and their story is told in “La La Land,” a new musical, written and directed by Damien Chazelle.
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Ryan Gosling and Emma Stone sing and dance in Damien Chazelle’s movie.