Posts Tagged ‘Jazz’

Seven years after his debut, Guy and Madeline on a Park Bench (2009), and only two after the international success of Whiplash (2014), Chazelle writes and directs yet another story where film and music are indissolubly tied together, and sets it in a colourful Los Angeles, the city of stars filled with people who dream of becoming someone they are not.

Sebastian (Gosling) is a thirty-something-year-old piano bar player obsessed with jazz, but forced to play the same repetitive tunes before crowds of vaguely interested customers. Mia (Stone) a girl about the same age who works as a waitress but dreams of becoming an actress. We meet both in a scene that mimics the beginning of Fellini’s 8 and ½. It’s Los Angeles, it’s rush hour, and cars are stuck in traffic. The only way people can escape the jam is dreaming, and dream they do: a jammed bridge turns into a carnival where drivers leave their seats, jump, dance and play around their vehicles. It’s a brilliant choreography, and a faithful summary of what the rest of the movie will be: explosive, vibrant and delightful. The camera follows the drivers-turned-dancers and the whole take feels like a wave of energy and colours that lingers long after the dream ends and people return to their seats.

Stuck amongst them are Sebastian and Amy. They meet when she fails to start her car, they honk and insult each other, then they meet again, they flirt, begin to go out, fall in love. It’s a standard love story, and yet it isn’t: Chazelle divides it into four seasons, and the love unfolds like the weather: it sprouts, blossoms, grows old, fades away. But the director seems to fall in love with them as much as they do with each other, and this is what gives to La La Land the sense of delicacy and empathy which makes it stand out as a love story that not only works – it sticks with you.

Amy and Sebastian’s romance is scattered with moments of sadness, joy, explosive choreographies and tip-tap moves. They are both romantic, and try to find their place in worlds where being so is almost looked down upon. We see Amy coming in and out of auditions where she gets repeatedly humiliated, and there is a scene where Sebastian is told jazz is dying because of nostalgic people like him are killing it.

Chazelle is, implicitly, just as romantic as the two of them. He chose to direct a movie that speaks of an art form which its own performers claim to be decaying, jazz, and did it through a medium which hardly many people would have used, a musical. Yet the experiment works. La La Land is as a film that is danced just as much as it is sung, and the choreographies, as well as the duo’s contagious energy and chemistry, add rhythm to the film as if crescendos in a musical piece.

In a sea where everyone plays the same thing, Chazelle has managed to sing his own melody, the same way Sebastian and Amy tried to create their own. The warm applause La La Land received at the end of his premiere at Venice’s 73rd Film Festival is a deserved prelude to the awards the film will hopefully receive in the days and months to come.

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A pet project of the now veteran actor Don Cheadle, Miles Ahead is the ten-years-in-the-making “biopic” of the legendary Jazz musician Miles Davis. Much like Davis’s approach to his “Jazz” music (a term he didn’t care for personally), this film is more of an impressionistic series of sketches, to build up a characterised idea of the man himself.

As such, the film largely plays like a suspended, drug-addled daydream, drifting between the cocaine infused “present” of New York, 1979 – four years after Davis’ last public performance and release – and the early 60s where he married his wife Frances Taylor and experienced racial profiling by the police.

The atmosphere Cheadle creates in both his performance and direction suits the narrative well. While there is no real indication how true, or false, anything that is happening here is, the film does provide an excellent insight into being a legendary figure in an art-form which isn’t bound by rules or conventions; this translates into Cheadle’s film-making form.

Miles Ahead turns in some excellent performances from its ensemble cast, including the always excellent Michael Stuhlbarg (A Serious Man, Steve Jobs, Trumbo), as well as the up-and-coming Keith Stanfield (Short Term 12) and Emayatzy Corinealdi (Middle of Nowhere) as the aforementioned Taylor. Meanwhile, Ewan McGregor brings the film some star-power as Rolling Stone reporter Dave Braden.

Reportedly, the project took so long largely due to funding issues, with Cheadle this past week explaining at the Berlinale how he had to write in a white co-lead role, in the form of a dutiful Ewan McGregor, just to get studios to back the film.

While this is a shameful reflection of the state of Hollywood filmmaking (and the perception of the film’s audience), McGregor’s naive, shaggy-haired reporter (who interestingly retains McGregor’s natural Perth accent), is expertly handled by Cheadle’s direction. It would have been all too easy to mishandle this invented character, but McGregor approaches the role with the right balance of subtlety and professionalism – even when his character borders on being the comedy buddy role – to avoid being an unwelcome visitor to the set.

So while Miles Ahead is by no means perfect, it does provide an interesting insight into the great Davis, celebrating his music while simultaneously questioning the integrity of his character; particularly his relationship with wife Frances and drug addiction. It is a quiet reminder than the biopic needn’t be an overblown show-pony, but can be an art-form of its own when properly realised – Cheadle does that here with some real class.

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