When was the last time you saw a film that rearranged your view of reality?
My wife and I saw LaLa Land last night, and as the kids say these days, I am shook. SHOOK.
I can’t do my typical review on this film: the good, the bad, the wtf. I’m reeling from it, like I stepped into the ring with Ali for kicks. I’m seeing stars, occasionally blacking out, chasing the dancing elephants into every corner where they evaporate in ice-cream flavored puffs of smoke.
I loved it. Absolutely loved it. To put it in perspective — this coming from a guy who hates everything — not only am I satisfied in having paid extra to see it in the theater, but I immediately rushed home to buy the soundtrack. Granted, the soundtrack is currently on sale at Google Play for only $8, but still — I gave them my money twice in one day. TWICE.
Okay. Let me focus and try to tell you why you need to pony up and see this movie.
From the striking primary colors of the protagonist and her cohorts at the beginning of the movie to a stunning Fred-Astaire-esque soft-shoe against the backdrop of the cosmos, this is a movie working on your subconscious wonder center with every shot. Not since Jet Li’s Hero have I been so struck by the use of color and composition in a film. It’s stunning. Absolutely stunning.
It’s usually the job of the music in a movie to vanish into the background, to hover in that liminal space where you don’t really notice it but it still works on your subconscious. To surreptitiously set the mood while fading featurelessly into the background. But you can’t do that with a musical; the music has to be front-and-center, the dancing elephant in the three-ring circus.
And here, the music has to pull double — or maybe even triple — duty. One of the two protagonists, as a jazz pianist, lives and breathes and dies with the music. So it’s not only the lifeblood of the form of the film, it’s an integral part of the plot as well. Luckily, the musical score delivers like Domino’s. The leitmotif is in full force and the melodies are magical. It’s catchy and touching and powerful and it makes you want to listen to it again, which leads me inexorably to …
I have a dirty secret to confess. I’m a theatre teacher, and I don’t get particularly sussed over musicals.
I know, I know. I can’t stand Grease, I would be fine without Les Miserables, and I barely bat an eye over Phantom of the Opera. I’m just not moved by the genre.