By Jake Howell jake.howell@utoronto.ca

Toronto Review: LA LA LAND

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When a movie like La La Land is so buzzed about and this heavily lauded, it can feel when you’re trying to write a review, you’re only chiming in rather than saying anything fresh or interesting. “It’s a Best Picture racehorse,” you’ll read; “It’s a prizewinner in any regard,” handicappers agree; “It’s an astounding, fantastic, emotionally overwhelming American m-o-v-i-e movie,” your musically-inclined movie-going friends (or parents) will sing. It’s great. It’s grand. I loved it. You will too.

And yet this Ryan Gosling-Emma Stone musical love-letter duet to creativity is not my favorite film at TIFF; it may not crack my top five of the year.

How can a film so intensely gorgeous and show-stopping as La La Land not find lodge in my mind? I keep forgetting I have seen it. In the days following the Toronto premiere of Damien Chazelle’s legitimately monumental effort, I find myself more drawn to thinking about the wispy, ethereal darkness of Nocturnal Animals and the study in subtlety of Barry Jenkins’ Moonlight. (Not to mention the three (!) masterpieces from earlier festivals, Paterson, Toni Erdmann, and Manchester by the Sea.) These movies may not stick around as long as La La Land (especially at the box-office) but they are certainly riskier in ways that resonate and register beyond my serotonin levels.

Maybe this isn’t fair. Unrelated comparisons suck as much as indiscriminate movie cynicism. La La Land’s energetic and vibrant pastiche of Old Hollywood practices and obsolete forms of expression result in an indelible movie. My face was warm throughout; I was out of breath at its emotional finale. It’s two hours of frisson, anchored by a wonderful Emma Stone performance that needs only two words (“I Ran!”) to demonstrate how truly fun and escapist it is.

The idea that a movie is faultless is crazy, because perfection is an intangible, untenable ideal. But 31-year-old Chazelle has managed to get near, arriving at an extremely close sweet spot of accessible depth and toe-tapping entertainment. If it survives the award-season onslaught of negative knee-jerking (just look at what became of The Artist), you can wave hello to a new American classic. If this is cotton candy, it’s woven from the clouds of movies beloved by millions.

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“We don’t have any idea what the universe is. Wise people have always told us that this is proof you shouldn’t think, because thinking leads you nowhere. You just build over this huge construction of misunderstanding, which is culture. The history of culture is the history of the misunderstandings of great thinkers. So we always have to go back to zero and begin differently. And maybe in that way you have a chance not to understand but at least not to have further misunderstandings. Because this is the other side of this question—Am I really so brave to cancel all human culture? To stop admiring the beauty in human production? It’s very difficult to say no.”
~ László Krasznahorkai

“I have a license to carry in New York. Can you believe that? Nobody knows that, [Applause] somebody attacks, somebody attacks me, oh, they’re gonna be shot. Can you imagine? Somebody says, oh, it is Trump, he’s easy pickings what do you say? Right? Oh, boy. What was the famous movie? No. Remember, no remember where he went around and he sort of after his wife was hurt so badly and kill. What?  I — Honestly, Yeah, right, it’s true, but you have many of them. Famous movie. Somebody. You have many of them. Charles Bronson right the late great Charles Bronson name of the movie come on.  , remember that? Ah, we’re gonna cut you up, sir, we’re gonna cut you up, uh-huh.

Bing!

One of the great movies. Charles Bronson, great, Charles Bronson. Great movies. Today you can’t make that movie because it’s not politically correct, right? It’s not politically correct. But could you imagine with Trump? Somebody says, oh, all these big monsters aren’t around he’s easy pickings and then shoot.”
~ Donald Trump