Chazelle, incidentally, creates a mischievous reveal in which we are later struck by the dull listless way she runs the lines to herself, and the passionate way she sells them later to the producer.
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Stone is Mia, a wannabe movie star like pretty much everyone else, and while waiting, she is distractedly going through her pages for an audition she has later in the day. The two of them get a meet cute in the traffic jam. Ryan Gosling on La La Land: ‘The world is quick to shame you for trying’ Guardian Gosling, for his part, has a nice line in sardonic dismissal to conceal how hurt he is or how in love he is. But very soon I was utterly absorbed by this movie’s simple storytelling verve and the terrific lead performances from Ryan Gosling and Emma Stone who are both excellent – particularly Stone, who has never been better, her huge doe eyes radiating wit and intelligence when they’re not filling with tears. It takes a little while to get acclimatised, and for the first five minutes, the showtune feel to the musical score might make you feel you’re watching a Broadway adaptation. To be honest, this is where an audience might find its tolerance for this picture’s unironic bounce tested, coming as it does right at the top of the show. With no little audacity, La La Land seeks its own place somewhere on a continuum between Singin’ in the Rain and Woody Allen’s Everyone Says I Love You, with a hint of Alan Parker’s Fame for the opening sequence, in which a bunch of young kids with big dreams, symbolically stuck in a traffic jam on the freeway leading to Los Angeles, get out of their cars and stage a big dance number. It’s an unapologetically romantic homage to classic movie musicals, splashing its poster-paint energy and dream-chasing optimism on the screen.
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T he seasons of a love affair are played out beguilingly in this wonderfully sweet, sad, smart new movie from Damien Chazelle – the director of Whiplash – and the Venice film festival could not have wished for a bigger sugar rush to start the proceedings.