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Our Culture Department is a staff divided. It’s not what you think — it’s “La La Land.”
We talk movies all the time, but for some reason Emma Stone (as Mia, aspiring actress) and Ryan Gosling (Sebastian, aspiring jazz pianist), singing and dancing about love and career, have provoked passionate arguments. Some of us love “La La Land”; some of us really hate it.
So as the Oscars near (“La La Land” is the front-runner), we’re putting our arguments to you. Read the debate, and in the comments tell us where you stand.
It’s Transporting
“La La Land” is a visual poem and a timely escape from all the tension and traffic and division in our lives. You don’t have to think much; you just watch it. The stars are lovely. The songs are catchy. And the camera lifts you right out of your seat to take you along for the ride. Oh, and that ending — it’s surprisingly perfect.
— Mike Abrams, Culture copy desk chief
What if instead of splitting up with Annie Hall and wrecking half a parking lot, Alvy Singer learned how to drive and took her up to Griffith Observatory? That was how “La La Land” struck me — a love letter to Los Angeles like the ones Woody Allen gave Manhattan, with fireworks popping over the cityscape (minus the Gershwin) and a romantic bench looking out on the Hollywood Hills instead of the Queensboro Bridge. I ♥ N.Y., but they made L.A. a ★.
— Dave Renard, assistant news editor
But It Doesn’t Understand Musicals
I grew up swinging around lampposts and stomping in puddles à la Gene Kelly in “Singin’ in the Rain.” I forgave Fred Astaire his talky rendition of songs like “Cheek to Cheek” because he was the epitome of effortless grace. Ryan Gosling is no Fred Astaire. For die-hard musical fans like me, “La La Land” disappoints. Yes, better a new Hollywood musical than no new Hollywood musical. But the high hopes raised by the inventive opening number are dashed by the weak delivery of its stars. Let’s face it, they can’t really sing or dance. And the novelty of seeing celebrities try to pull it off wears thin pretty fast. Couldn’t Emma Stone muster the vocal strength she showed onstage as Sally Bowles in the Roundabout’s “Cabaret”? Couldn’t the producers have cast a pair with real theater chops, like Sutton Foster and Colin Donnell, or Laura Benanti and Gavin Creel? Too bad Broadway stars aren’t big box office.
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— Robin Pogrebin, arts reporter
From the “Hamilton” juggernaut to fresh-sounding new musicals like “Natasha, Pierre & the Great Comet of 1812” and “Dear Evan Hansen,” Broadway is doing a pretty killer job these days of innovating. But you wouldn’t know it by watching the reactionary “La La Land.” Considering the relevant, specific and (sometimes) challenging stories that are being told onstage — aided by accomplished and hummable scores — “La La Land” lags. Sure, the movie is a pleasant enough throwback. But if “La La Land” is any indication that movies are going to start taking cues from musicals again, here’s hoping that Hollywood catches up with what many musical theater fans have come to expect: A musical can be more than just a meet-cute song-and-dance escape; it can also be an opportunity to push the form forward.
— Erik Piepenburg, digital theater editor
And What About All Those Oscar Nods?
There are better movies nominated for best picture than “La La Land.” (There are also better movies not nominated.) But “La La Land” will win. Not just for what it is, but for what it isn’t. Look at the other films up for the award. They are, for the most part, hard-edged realist stories that take an unflinching look at life. “La La Land” allows an escape, a dream, a fantasy, giving us a brief flight from this maddening world. And who doesn’t want to get away sometimes?
— Ken Jaworowski, staff editor
There’s plenty to like and even a little to love. Dancing on the freeway? Unexpected and brilliant! Mia auditioning in a nondescript room full of bored professionals? That’s the real Hollywood. But is this 14 Oscar nominations’ worth of greatness? It ties the record held by “All About Eve.” (O.K., and “Titanic,” but the less said about that the better.) I could watch Bette Davis and company crack wise any day. “La La Land” is no “All About Eve.”
— Stephanie Goodman, film editor
Hey, It Gets Some Things Right
“La La Land” is a worthy and welcome concept, executed merely adequately — until it becomes something surprising and great. The film is distinguished by its movie-musical aspects and yet these are its least distinguished elements. The trouble isn’t the mediocre singing and dancing skills of Ryan Gosling and Emma Stone; their amateur efforts are charming. The trouble is the earthbound, almost place-holder quality of the music and choreography: good ideas in the right places that lack the poetry, inspiration, rhythm or just pizazz to lift the movie to another plane of fantasy. The movie improves when it eases off its struggle to be a musical — until the end, when it uses the movie musical’s access to fantasy to deliver an emotional wallop.
— Brian Siebert, dance critic
I’m in the “like it” camp, which is not prime real estate in this Oscars turf war. Although I relished the callbacks to classic musicals, they make “La La Land” the tribute band you settle for because the original group is no longer around. I don’t understand how Seb going on tour is selling out, but Mia getting picked up by a studio isn’t. Or why the vibrant and diverse community I knew when I lived in Los Angeles largely disappears after the first dance number and a few scenes in jazz clubs. But the movie stuck with me in other ways. I jumped after spotting the Formosa Cafe sign, beamed throughout the dance sequence at Griffith Observatory and haven’t yet watched the last dance number without choking up. There’s no logical defense here, just the excitement of feeling something at the movies.
— Monica Castillo, Watching film writer
How’s this for a split reaction? During the first half, all I could think was that I had finally found a contemporary film to which I could take my 93-year-old mother-in-law. Consuming the sweetness and fluff was like being force-fed cotton candy. But in the second half, as the musical numbers became less relentless and the characters’ problems more real, I found myself falling under the “La La Land” spell. Part of what won me over was the chemistry between Emma Stone and Ryan Gosling; I believed in them as lovers and wanted their characters to stay together. But one reason I ultimately liked the film is its unexpected ending: “La La Land” gently subverts the very tradition it seemed set to embrace.
— Laurel Graeber, assistant copy desk chief
But It Gets So Much Wrong
‘“La La Land” is too insubstantial a dish of candy to hate. But man, does it annoy me, especially the way it elevates young-fogey, I-only-listen-to-vinyl connoisseurship into an artistic principle. (“Sideways,” whatever damage it did to the merlot business, had a sense of humor and perspective about Paul Giamatti’s oenophile fussiness.) This attitude is even reflected in the aesthetics of the movie, which — if you truly get it, if you truly deserve it — you must appreciate not in itself but in relation to the classic movie musicals it reveres and references. The scene that best captures all that irritates me about “La La Land” comes when Mia goes to see Sebastian, who has scored a gig in a pop-jazz band fronted by his old frenemy, played by John Legend. Seb plays a blistering synthesizer riff, and Mia recoils and flees in moral horror at his selling-out, as if he’d just carved up a baby onstage. If playing an awesome synth solo is wrong, “La La Land,” I don’t want to be right.
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— James Poniewozik, television critic
As a fan of vintage neckties, classic jazz and revival houses, I found it impossible not to be charmed by “La La Land,” but still it troubled me. There I was, rooting for nostalgia and fidelity to win the day, hoping Sebastian would not sell out by playing crowd-pleasing fusion instead of the jazz he loves. But I was doing so while watching a once-in-a-blue-moon Hollywood musical that opted to play it safe and cast a pair of charismatic, movie stars rather than bona fide triple threats who could truly sing and dance as well as act. It was a fusion musical. So as the movie toyed with alternate endings, I could not help imagining my own. “La La Land” might have made a better case for the movie musical had it found the courage to cast someone like Robert Fairchild, the New York City Ballet star who recently filled Gene Kelly’s very big dance shoes in “An American in Paris” on Broadway. He might have given the climactic, sumptuously filmed dream ballet transporting moments of, you know, dance.
— Michael Cooper, classical music and dance reporter
All that hoofing but not an ounce of sweat! All that hoo-ha about jazz clubs without one smoldering glance! Sebastian is a fiend for jazz (and oh my have you looked up the origins of that word?) with no libido in evidence. Mia is a striving actress far too earnest for seduction. In her big audition, she belts out an ode to the bohemian struggle, singing “Here’s to the mess we make.” But “La La Land” is squeaky clean.
— Daniel McDermon, digital art editor
I loved two of the songs in “La La Land.” Unfortunately, they were the ones I was supposed to hate. The gloriously trashy cover of A Flock of Seagulls’ “I Ran” is the first time in the movie that Emma Stone truly comes alive: Her hysterical dancing pairs perfectly with Ryan Gosling’s bright red bomber jacket and even brighter red keytar (I own the same exact model, by the way), imbuing the movie with much-needed self-deprecation and giddiness. Meanwhile, Seb might reluctantly play John Legend’s “Start a Fire” as if he’s stabbing Hoagy Carmichael in the back — but there’s a reason the crowd goes crazy. In trying to build straw men for Seb’s traditionalism, the movie accidentally undermines its lead, and even worse, has some fun.
— Andrew Chow, reporter
Just Give In Already
I’ve seen it twice, and my toes won’t stop tapping. The score is vibrant, the songs hummable, the visuals eye-popping, the leads irresistible and the beginning (and ending) unforgettable. “La La Land” whisks us away into a dream while also letting us think about what we value in life. It’s a celebration of the creative process and the work that goes into becoming an artist. But it’s a dazzler in how it portrays that struggle. Ryan Gosling and Emma Stone’s dance moves are fancy enough to admire what they put into them, yet down-to-earth enough for us to relate. And the expert execution on various technical levels makes it reasonable that it would receive Oscar nominations across the board. It earned them scene by scene.
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— Mekado Murphy, digital movies editor