While some critics may argue that La La Land (2016) falls short in aspects such as its music and singing performances, I argue that this is misplaced as they overlook the unique artistic vision, the intentional purpose of casting nontraditional musical performers, as well as the realistic approach to dissecting the illusions of dreams that Hollywood creates. In my opinion, the film's unique blend of nostalgia, imperfect realism, and visual storytelling plays a role in successfully capturing the theme of the essence and challenges of modern-day dreams and relationships. I will explore these ideas and the theme by analyzing the repeated musical themes, the style of singing, the use of Cinemascope, as well as the role colors, lighting, and camera shot sizes play in this film.

It was written and directed by Damien Chazelle (a drummer and musical enthusiast himself) and the music was composed by Justin Hurwitz. Chazelle and Hurwitz both attended Harvard, where Chazelle first conceptualized the idea for the film. The film was also partially inspired (like Whiplash (2014)), by Chazelle's own life, particularly reflecting his experience when moving from the East Coast and what he was expecting to achieve in Los Angeles.

The project was picked up after years of struggling (the screenplay was first written in 2010), thanks to the success of Chazelle's previous film Whiplash (2014). Interestingly enough, before Emma Stone and Ryan Gosling were cast, Miles Teller and Emma Watson were originally tied to the film. Finally in the Summer of 2015, in the months of August and September, the film would be shot and brought to life.

Going along with the theme of the film, much of the style and tone were inspired by Hollywood classics and jazz/musical oriented films like The Umbrellas of Cherbourg (1964), Singing in the Rain (1952), and An American in Paris (1951).

“La La Land.” Wikipedia

La La Land (2016) follows an episodic structure as the film is separated into four parts, each representing one of the four seasons. In addition, each part has its own distinct tone which can be seen through the use of color and music. The film is structured in a way that focuses on key parts of the characters' lives and careers and covers the lifespan of their relationship. In addition, I argue that the film can furthermore be separated into two halves. I believe that the first half represents this idea of nostalgia and idealistic/potentially unattainable dreams, while the second half of the film is where the film becomes more somber as their dreams go beyond their reach. While critics have said that this change in tone caused the tale to run out of a little puff in the second half and is disappointing after the vibrant lushness of the first half, I argue that this makes the film more authentic and relatable, which goes along with the theme (Anthony, Gleiberman). Which is further supported by the visuals of the film.

Sebastian Wilder: Sebastian is an aspiring jazz musician who wants to get people excited again about the classical nature and power of jazz. He is stubborn, passionate, and longs for success which causes him to make some bold and questionable choices.

Considering Jungian archetypes, both Mia and Sebastian are "the Creator" as it is quite evident they are artistic, dreamers, and are driven by their creativity. There are no "heroes" or "villains" in this story because it instead focuses on the complex development of the two as they try to navigate their dreams and face the realities of life.

“City of Stars,” specifically, has been criticized and deemed "lackluster and dull," which I disagree with (USA Today). The simplicity of the scene was intentional. In the scene, we hear a stripped-down version of the song as Mia and Sebastian intimately sit at the piano as they sing in hushed voices and laugh, separate from the rest of the world. This emphasizes the vulnerability and raw emotions of the two, which supports the idea of imperfect realism and reinforces the bittersweet theme of modern dreams and relationships, which could only be established with a personal performance lacking in complexity. While they still haven’t accomplished their goals or made it to where they want to be, they find comfort in each other and get to step back from reality and the rest of the world.

In terms of the instrumentals, the song at first begins on the piano, but once we reach the montage of time passing by, we start to hear strings and wind instruments such as flutes. The soundtrack goes back and forth between major and minor cadences, creating a hopeful mood at the start and more melancholic as we reach the end of the scene. The piano returns as Mia passes the closed cinema where she and Sebastian had their first date. This is where we start to see their relationship dissolve as they diverge onto different paths (this is the second half of the film). This is heightened by the use of color in the scene, with Mia's purple dress and the green light which showcase how they are still optimistic and their relationship is going well. Towards the end of the montage of scenes, the scenes are reduced to minimal lightening and it represents how they are now entering a darker stage in their relationship and dream path.

This scene reinforces the theme that dreams and aspirations sometimes come up against obstacles, which supports the idea of imperfect realism.

Around the 1:08 mark, Mia and Sebastian come across a film crew who is filing a scene between two lovers. After the director calls cut, the two actors spring apart and start arguing with each other. This helps to demonstrate the idea of imperfect realism because, in the final cut of the film, the audience will only see the love between those two characters, but in reality, there was tension and anger among the actors who filmed that scene. It shows the complexities and messiness of life and the illusions Hollywood can create, which we see throughout the film, while also highlighting discrepancies between real life and what we choose to present to others.

Around 2:31, we hear an instrumental version of "City of Stars" begin to play. This is before we see Mia and Sebastian perform the song, which does not happen until much further in the film. Thus, the playing of this song foreshadows their relationship. When they perform the song late, it serves almost as a callback to this moment, when their relationship was first blossoming and how at the point I looked at in the previous scene, their relationship was starting to unravel. It also reflects their hopes and their almost naive nature as in the next scene where the song is played, their dreams are farther beyond their reach. In addition, we also hear the instrumental version of Mia's "Audition" song, and it is especially evident when she is talking about her aunt and her introduction to film. When Mia performs this song in the second half of the film, it is again a callback to this moment as well as her dreams, which promotes nostalgia.

Overall, throughout the scene, Mia and Sebastian make countless mentions of classic Hollywood films, legends, and stars which also aids in developing the theme of nostalgia in the film. Especially when Mia talks about how her aunt introduced her to acting and films like Casablanca (1942). Mia's connection to the past demonstrates its influential nature on an individual and their dreams.

When Mia and Sebastian first make eye contact in this scene after years apart, Sebastian begins to play "Mia and Sebastian's Theme" on the piano. Mia and Sebastian’s theme plays many times throughout the film. It is initially played the first time they meet. When it is played in this final scene, it serves as a callback to their relationship, and they are forced to deal with the emotions and heartbreak of their failed relationship, but they can also look back fondly as they would not get to where they are without meeting and having the relationship, much like the feelings of nostalgia that ensue on everyday individuals.

The purple and blue lighting also returns in this scene, after disappearing when Mia and Sebastian's relationship is in turmoil. The colors signify the journey of their relationship through the phases of longing to compassion, and connection to the realization they reach at the end of the film. This is further highlighted by the close-up shots we see of Mia and Sebastian when they see each other for the first time at the end of the film, and it shows how even in a room full of people, they still have that connection that makes it seem as if they are the only ones there.

Later in the scene, when Mia and Sebastian begin to dream of what their life would have been like if everything had gone according to plan, we return once again to the bright and vibrant colors we were introduced to in the first part of the film. Throughout this montage, we also begin to hear all the musical numbers played in the first half, but in an even more upbeat and fast-paced tone. This signifies their happiness and hopefulness. As we return and are brought back down to reality, and switch back to their theme as Mia and Sebastian come to terms with their reality and process their emotional connection.

While the use of CinemaScope is evidently effective in supporting the theme in all three scenes, it is quite powerful and magical in this ending scene. CinemaScope allows the film to pay homage to older classic Hollywood musicals (Kodak). In addition, the wider screen enhances the film, especially during the musical numbers and the visuals brought on through the vibrant colors and light compositions which are beautifully done in the musical montage of the alternate ending in this scene. Specifically, with the wide variety of sets and props in this scene, the wide shots create this inviting and immersive experience, much like older musicals.

The film in fact received critical acclaim. On Rotten Tomatoes, the film is certified fresh with a score of 91%.

One review that in particular stood out to me was from the New York Times, where A.O. Scott writes "'La La Land' succeeds both as a fizzy fantasy and a hard-headed fable, a romantic comedy and a showbiz melodrama, a work of sublime artifice and touching authenticity. The artifice lies in the gorgeous colors, the suave camera movements, and the elegant wide-screen compositions... You’re more likely to remember what you saw than what you heard" (Scott). As it is evident through my analysis, I do agree that the film while the film shows the glitz and glamour of Hollywood and dreams, it is also rooted in this deep realism and authenticity that we often do not see. In addition, I do agree that the visual storytelling of the film through the colors and the use of CinemaScope creates riveting and unforgettable shots that make you feel you are in the film itself.

In 2017, it was very successful during the awards season. At the 74th Golden Globe Awards, it won all seven awards it was nominated for, setting a record for the most awards won by a single film. It was also nominated for a record-breaking 14 Academy Awards at the 89th Academy Awards. They took home 6 awards including Best Actress, Best Director, Best Cinematography, Best Original Score, and Best Original Song for "City of Stars."

(“La La Land.” Wikipedia).

In 2023, it was announced that the film would be adapted to become a Broadway musical (“La La Land.” Wikipedia).

2017, www.nytimes.com/2017/02/15/movies/la-la-land-love-hate.html.  *This is a collection of reviews and debates from the Culture Department at NYT*

"A chorus against 'La La Land'." USA Today, 26 Jan. 2017, p. 03D. Gale Academic OneFile, 

link.gale.com/apps/doc/A479106520/AONE?u=nysl_oweb&sid=bookmark-AONE&xid=4d486741. 

Chazelle, Damien. La La Land. Lionsgate, 2016.

Gleiberman, Owen. "La La Land." Variety, vol. 333, no. 9, 6 Sept. 2016, pp. 129+. Gale Academic OneFile, link.gale.com/apps/doc/A465558608/AONE?u=nysl_oweb&sid=bookmark-AONE&xid=2c29957d.

“La La Land.” Wikipedia, Wikimedia Foundation, 10 Dec. 2023 en.wikipedia.org/wiki/La_La_Land. 

Lane, Anthony. "Dancing with the Stars." The New Yorker, vol. 92, no. 41, 12 Dec. 2016, p. 88. Gale Academic OneFile, link.gale.com/apps/doc/A473643560/AONE?u=nysl_oweb&sid=bookmark-AONE&xid=e46cdfc9. 

Millman, Zosha. “Never Shined so Brightly: The Use of Color in ‘La La Land.’” Film School Rejects, 20 Nov. 2020, filmschoolrejects.com/color-in-la-la-land-26939a11accd/?amp. 

Scott, A. O. “Review: Ryan Gosling and Emma Stone Aswirl in Tra La La Land.” The New York Times, The New York Times, 8 Dec. 2016, www.nytimes.com/2016/12/08/movies/la-la-land-review-ryan-gosling-emma-stone.html.

“Shot in CinemaScope, ‘La La Land’ Vibrantly Romances the Olden Days...” Kodak, 15 July 

2021, www.kodak.com/en/motion/blog-post/la-la-land/. 

Yahr, Emily. "Your guide to the 'La La Land' backlash." Washington Post, 25 Jan. 2017. Gale Academic OneFile, link.gale.com/apps/doc/A478867411/AONE?u=nysl_oweb&sid=bookmark-AONE&xid=dc32fd12.

Overall, it is clear the theme of the film revolves around the idea of dreams, the passion for following dreams, the bittersweet nature of fulfilling those dreams, and the compromises and sacrifices that one may be forced to make, especially regarding relationships. This demonstrates the idea of imperfect realism, as well as the desire to achieve or return to previous success through the feeling of nostalgia.