We are bit late on this, but here it is – our recco post on Damien Chazelle’s new film, La La Land. It’s written by Percy H Bharucha.
La La Land is a movie devoted to a single word – ache.
The ache of Nostalgia.
The ache of a city like L.A.
The ache of dreams unfulfilled.
The ache of lost musicals and movies.
The ache of love lost.
The ache of what could have been.
And the ache of time spent apart.
As a child I used to watch musicals with my grandfather. My introduction to Hollywood was An American In Paris, Singing In The Rain, Easter Parade, Hello Dolly. Those were my first movies and I loved them dearly. As I grew up, so did Hollywood. Things got complicated for all of us and I yearned for a movie so simple, so removed from reality, that it wouldn’t want me to return from it.
La La Land brings back that ache for all of us. It brings with it a refusal to detach from its world. It is astonishing to watch a movie where the failures of the characters seem yours. The viewer takes that emotional burden upon himself just as I did. I rooted for them to fail, yes I did. Just to embrace the feeling it would bring. To feel through them.
There have been movies of recent that have relied on catering to a sense of wonder whether through visual aesthetics or intellectual curiosity, but La La Land is different. It holds itself to a different pedestal, though shot beautifully, it holds itself to the standards of emotion. Few movies have had such an impact on me. It has brought my pen out of hibernation This article is driven by personal catharsis, as much as it is, about this movie being an influence. I write this, as words tear themselves eager to be set on paper.
La La Land reflects a choice every one of us has had to make at least once in life. The choice between love, between relationships we share with ourselves and our dreams. I am glad, for once, there is a movie that prioritises dreams over love, the self over the other. Too many movies are tied to the illusion of the characters walking away with it all. La La Land is fierce enough to show its wounds, our wounds, the costs we pay to be at peace with ourselves.
Which brings me to the last part of the movie, the ache of what could have been, that’s reflected in the alternate flashback between the couple when she walks into his bar. It brings with it the realisation, of the characters being fully aware of their own losses, the pain they’ve endured and so is the viewer too, aware of what he has given up. No one is spared the pain of knowing the ideal, the best case scenario and yet the brilliance of this movie lies in how willingly I, the viewer, could embrace that pain, the burden and the ache the characters bring with them, as my own.
Like a wounded bird we nurse that emotion only because it’s been a long time since any of us felt this strongly about anything at all and even the emotion of absolute loss is better than feeling nothing at all.
La La Land offers an escape from the dark abyss of emotional numbness, it makes us ache in places we didn’t know were capable of expressing emotion. And the final proof of its own success is that a film that reminds us of these aches, becomes an ache by itself. La La Land makes us ache, and departure from the movie is no less painful than the character’s departure from each other.
I wish there was more heartbreak to be felt.
(The author is a Young India Fellow, and has been writing since he discovered he couldn’t draw. He has a full time job in advertising and hopes to keep it that way. He has been previously published in eFiction and eFiction India, Asia Lit, Reading Hour, Gratis and The Madras Mag. He infrequently tweets @Sab_Bakwaas_Hai)