A month ago, La La Land made history at the Golden Globes by being the first film to win seventrophies. With nods in just about every conceivable category, including two best original song, it has a total of 14 nominations, thus matching the record held by All About Eve and Titanic.
Next to Moonlight, Hidden Figures and Fences, all of which are best picture nominees, La La Land doesn’t look too progressive. However, the very fact that it doesn’t have an overt political message, but is still good enough to beguile awards bodies, is what makes La La Land so unusual.
At heart LA LA Land is a romantic comedy, however, the Academy has long been notorious for neglecting romantic comedies. Try to think of a recent boy-meets-girl comedy, which has been uplifting and un-ironic, without also being nauseating, and you’ll appreciate how special La La Land is.
Chazelleuses the film’s first act to establish Mia and Seb’s individual careers and passions. When they finally get around to having a conversation, the audience is primed and ready for them to fall in love. And even then, the pacing has a relaxed, breezy confidence.
LA LA LAND got those 14 Oscar nominations for its flowing camerawork, the Pop Art brightness of its costumes and production design, and the toe-tapping songs by Justin Hurwitz. But it’s the magic in that buoyant first hour that makes it worthy of the awards it has been and will be given: the magic of an exquisitely constructed comedy about two people who make beautiful music together.