De­light­ful duo are pitch per­fect

Rutherglen Reformer - - The Ticket -

tunes is dis­persed within min­utes and the thought of them not end­ing up to­gether and rid­ing off into the sun­set is enough to make you con­sider or­gan­is­ing a mass cin­ema sit-in at the end of the film in protest.

In­evitable com­par­isons have been made with the MGM mu­si­cals of the for­ties and fifties and Chazelle has done his home­work as he helms with vi­brant vigour us­ing a lav­ish colour pal­ette that re­sem­bles a rain­bow pulled from the sky and sprin­kled all over LA.

It’s hard to sin­gle out one mu­si­cal num­ber or show­piece, but Mia and Se­bas­tian’s visit to an ob­ser­va­tory is the type of breath­tak­ing se­quence the big screen was made for.

Per­haps un­sur­pris­ingly given Whiplash’s grip­pingly caus­tic tone, Chazelle doesn’t make things all sweet­ness and light for his lead pair as the chal­lenge of mak­ing it big in the en­ter­tain­ment in­dus­try are laid bare.

Gosling and Stone dom­i­nate pro­ceed­ings but ev­ery­one plays their part in the larg­er­scale song and dance rou­tines and there are nice cameos from Whiplash Os­car win­ner JK Sim­mons and mu­si­cian John Leg­end.

The songs – cre­ated by com­poser Justin Hur­witz and lyri­cists Benj Pasek and Justin Paul – are in­stantly catchy and you’ll be hum­ming them in the shower for days to come.

Those ob­sessed with find­ing flaws may bris­tle at the two-hour-plus run­ning time and lack of mu­si­cal num­bers in the lat­ter stages.

But when a trip to the flicks is as much fun as the touch­ing, warm and joy­ous La La Land, you can take those frowns and turn them up­side down.

In tune Gosling and Stone cre­ate beau­ti­ful mu­sic to­gether

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