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La La Land Review: Where is the Love?

 
(WARNING: MAJOR SPOILERS)
     I love musicals, I love jazz, and love watching Ryan Gosling and Emma Stone in movies.  So I really wanted to love La La Land, but I just couldn’t.
   
     I could not shake the nagging disappointment I felt at the end when discovering that Mia and Sebastian did not have a future together.  At the end of the long American-in-Paris homage dance sequence showing “what might have been” for these two struggling artist lovebirds I could not help  wondering, what happened to pull these two apart and why did the filmmaker not show what happened?  Where did their love go?
 
     I still left the theatre humming a tune (specifically, “City of Stars,” which is a superb ballad). And there were many satisfying moments in the film that almost made up for my disappointment with the ending. But when a friend asked for a film recommendation I just could not bring myself to advise seeing La La Land.  Overall, I left the theater feeling bereft: Where is the love?

      The opening singing and dancing number (“Another Day of Sun”) was a jubilant and joyous combination of Broadway-style dancing, motorcycle-riding, skateboarding and other athletic dance styles that was skillfully directed and beautifully executed.  Bravo to a first scene that whet the appetite for more.

     Emma Stone was introduced as a young wannabe actress who was working at a coffee shop on a Los Angeles sound stage.  We have seen this trope  before but with Emma Stone and her endearing smile, it seemed fresh.  She was very engaging, as always, and I marveled at her craft in the audition videos.  If a film can make you appreciate good acting, it is performing a public service for actors and I applaud that.  
 
     The second dance number,’ Someone in the Crowd,” continued the buzzy, modern feeling of this musical and with fast cuts and a large crowd scene, it set a fast pace. I enjoyed it a lot.

     Pretty soon we were watching Mia and Seb dance to a lovely ballad (“City of Stars”) in old-fashioned musical style, under streetlamps and in tap shoes.  It was charming as only a film musical can be.
And then, as many critics have written, things slowed down drastically, including a waltz at a planetarium that could have been a showstopper if they had brought back the professional dancers.  I am guessing the director did not want to break the intimate, romantic mood. Even so, the scene felt like it was stretched too long.   

     For me the greatest disappointment was in the final scenes introduced as happening five years later. Writer-director Damien Chazelle had set us up with a  narrative about a young and not especially privileged couple with ambitions who fell in love, at least that is what I believed. But this young couple had fallen apart within five years. And Mia already has a new husband and baby. She must have gotten busy pretty quickly after giving up the apparent love of her life.

     That is not the usual happy ending we expect in a romantic movie like this. We watched them strive to achieve their respective dreams—Emma to become a film actress and Seb to own a hot jazz club—and watched them help each other and support each other at key moments.  This was not just a friendship but a romantic partnership, like in the musicals of old.   Five years later, Mia has a fabulous film career, gorgeous home, and a husband and baby as well. Seb has his hot jazz club.

     The older Mia is shown first, looking very happy, but then she makes a chance visit to Seb’s jazz club and her face looked anguished. But, after she imagines their life together in the dance sequence, Seb and Mia give each other a knowing, affectionate smile.

    No, no, that is not good enough, in my opinion. Let us investigate this further.  Mia must have gotten over Seb pretty quickly to be able to meet, marry and have a baby that was nearly two years old—all within five years after we last see her with Seb. When we see her again, Mia appears to be very happy with her choice, until that moment of sadness after seeing Seb again.  And she left Seb because of, what exactly?

    I have read some opinions saying this film represents a new kind of happy ending in which a couple can be pulled apart by their respective dreams but each ends up happy in his or her career. Mia, especially, seems like she won the Triple Crown of happiness – career and money, husband and baby. As for Seb, that is not so much the case.  His club is hopping, but he is still living in a small and empty-looking apartment, not exactly a cozy home

    The ending is not especially romantic, but some people say it is a great happy ending because both people are happy in their choices.  I am not buying it.  People who are deeply in love do no leave each other easily, even for careers. If they do, there usually is another reason, i.e., immaturity, instability, addiction, illness, etc. People do not give up love so easily—at least not the people I know.  I do not recognize these young people who fall in love and follow their dreams together, discarding their love in the process.   If their love was so easy to give up, that suggests that their love was shallow or transitional in the first place, and perhaps it was, and there is nothing wrong with that.  But there ought to have been some recognition of that and some greater acknowledgement of the pain they likely suffered in parting. I ask again, where is the love in La La Land?
 

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American Hustle--who's zooming whom?



The success of “American Hustle” proves what we already know: that Americans love to watch the hustle in action, and I’m not talking about the 70s disco dance move. We like to watch clever people outwit each other in games of sex, politics and money. It helps if the people are witty and glamorous, or at least attractive and interesting, and are hellbent on outfoxing each other in the bedroom as well as in their petty schemes.

But what works on screen does not work in real life.  In real life, Rosalyn (the Jennifer Lawrence character) chooses a gangster who apparently beats her, or at the very least is careless of her wellbeing in how he treats her, judging by the neck brace she is wearing and which she unconvincingly blames on a car accident the last time we see her. Is her life a life that any
woman wants?  I say no. It is sad and tawdry and I feel pity for her in that last scene.

    Also, what doesn’t work in real life is a romance like Sydney and Irving’s. We are supposed to be believe that these two con artists are honest with each other while eagerly taking advantage of others. Remember the loan sharking scenes? An ordinary honest person would not be able to lie and cheat other people in that way: systematically, repeatedly, without remorse. What if those desperate and poor people looking for loans had been your neighbors, your local bartender or your car mechanic pal down the block? OK, maybe we overlooked some of their ripoff behavior because we wanted to believe that Irving and Sydney only ripped off other petty con artists like themselves. But look at the evidence in the movie.  It did not seem that way.  It seemed they were happy to climb over some pretty ordinary people just to make a buck.  Would I want to be friends with Sydney and Irving?  No, I would not.


    Having lived lives of petty crime and antisocial activities, the final scene in which Irving and Sydney e apparently are raising a happy kid in happy suburbia seems so fake.  Leopards do not change their spots.  What about all those unhappy people they ripped off?  It’s hard to believe they can escape their past so easily.  And by the way, where was their repentance?  Did they make any amends to their victims?  All of that was basically smoothed over so we could enjoy the ride.  But as it turned out, the ride was as cheap and fake as one of those Atlantic City bumper car rides.  Still, it was fun while it lasted, even though “American Hustle” left me feeling hustled.





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