From Damien Chazelle, the director of "La La Land:Melody of Love", and remembered, as many others, living or dead, forgot. And these others are Stanley Donen and Gene Kelly, Vincente Minnelli and Jacques Demy, among the dead, or Martin Scorsese’s "New York, New York" and Francis Ford Coppola’s "from The Heart", the music that you just in fact with musicals (and with the producer and finance director). For more well-done that "La La Land: Melody of Love" (debuts Thursday), it’s a decal, a "second hand", applied and sentidíssima tribute of a great, authentic and talented fan of the genre, but that does not bring anything new. the contrary To what if you have to then proclaimed, said and written, Chazelle d oes not invent any thing, neither reinvents the musical for a new century and a new generation. The most that does is prove that the musical is a genre now extinct, such as the "western", and this film is the longing for a joy unrecoverable.
[See the "trailer" of "La La Land: Melody of Love]
How to explain it, then the general hysteria, the constant jet stream of encómios, the records in the nominations for awards (seven Golden Globe awards, 14 academy awards, a new record for a genre film) around "La La Land:Melody of Love"? the In part, and the first, by the enormous "hype" that has been created around the movie since its debut at the Venice film Festival, joined the director of the event, Alberto Barbera (who pulled the ember to its sardine, of course), to say that the tape made the musical "a new starting point"; in addition to this fierce promotion of this continuous "is what is giving", amplified without the slightest sense of the measure by the media and by social networks, there is the growing lack of memory (or short-term memory) film of many journalists and critics; and then, and also very important, there is a mass of fans a long time ago woman seeking a good musical movie, and they hosted this as if it were the lynx in the Malcata gender. Need to put some water on to boil.
[See the interview with the director, Damien Chazelle]
The first two films, Damien Chazelle already were musical or had much to do with music, "Guy and Madeline on a Park Bench (2009), unprecedented in Portugal, and "Whiplash-In Limits" (2014), about the confrontation in a young jazz drummer and his exigentíssimo teacher, and won three Oscars. the This "La La Land: Melody of Love" is the corollary of these two tapes, where Chazelle reveals a deep and excellent knowledge of the themes and formal conventions, sentimental, visual, and dance choreography of the music that references and reveres abundantly. And even manages to put in tension without letting the rope pop, musical, classical, artificioso, prepared and always happy, the times of glory of the MGM, and the more contemporary, pop and "naturalist" (the Scorsese and Coppola), with a few ticks of video here and there. This clash is reflected in the film itself, through the characters of Sebastian (Ryan Gosling), the pianist and purist irreducible jaz z, and Keith (musician and singer John Legend), adept of the "mix" and evolution.
[See the interview with Emma Stone]
The story of "La La Land: Melody of Love" is the "be-a-bá" of the genre. Sebastian (Gosling) and Mia (Emma Stone, who takes the movie by the hand only with the look, the voice and the way you move), a maid cafe is an aspiring actress, have known each other in Los Angeles. the Start by embirrar solemnly to one another and eventually fall in love, while trying, every one by his side, to get to the top, he opened a jazz club classic, she becoming a "star", and at some point will have to choose between love or the fulfillment of your dreams through a career (and it is not difficult to guess how things end up). Which, by the way, gives them, and the movie, very cloth to the sleeves of the cut in the coat of Hollywood, the city of the false, of the pose without content, of dreams betrayed or lost, and other places-common in the film the past in Los Angeles about people who want revenge on the world of entertainment.
[See the interview with Ryan Gosling]
The movie has a great, huge, major asset on their side. Is a nuclear bomb of color, joy, light, and movement, shot on film and in Scope (it loses a lot, almost everything, to be seen on another site that not in a cinema) in a town where the sun shines always, and given the philosophy of these times grey and the movies, loaded that they have generated. Damien Chazelle chose actors who are not singers or dancers, which gives a touch – deliberately – of-fact, down-to-earth, the songs and sequences of dance, but avoiding the desconchavo of a "everyone Says I Love you", Woody Allen. The beautiful sequence of dance anti-gravitational with the stars at the Griffith Observatory (the same "Fury of Living"), one of the high points of the film, along with the vision of alternative living that Mia has in the end, he lives, therefore, of special effects, which would be unthinkable on a musical classic.
[See aspects of the filming of the movie]
Is the obvious and assolapado love that Damien Chazelle votes to the music, combined with their skills in film, his in-depth knowledge of gender and the earnest sincerity with which he conceived, drafted and sent the rapt love letter in the form of "La La Land: Melody of Love", which prevents the film to be just a busy, and calculating regurgitation of tropes, winks of the eye and clichés. But a masterpiece of cinema music, how you want the "hype" and so on if announces? For this dance I’m not going to.
No comments:
Post a Comment