What with yourself to catch when you, your admiration for the immensely popular La La Land no longer can control? Other footage view. The inspiration for the movie, for example.
As a love letter to the ‘classic’ Hollywoodmusical seems La La Land, the stoneware to do. In principle, this covers just about any musical with Fred Astaire or Gene Kelly under the term ‘inspiration’, but director Damien Chazelle gave also more specific movies price. So by pointing out his latest pearl, among others, to Singin’ in the Rain (1952, Gene Kelly & Stanley Donen), a reference that was probably not unnoticed passes when you Ryan Gosling to a lamppost to see the fire. Further, passing yet more creations of Arthur Freeds entourage review. So was also the famous dance-sequence at the end of An American in Paris (1951, Vincente Minnelli) as a source of inspiration. That 17-minute scene did also not fall from the sky; she goes back to The Red Shoes (1948) Michael Powell and Emeric Pressburger.
Not only America had something in the La La Land-pap to pieces. Chazelle has a weakness for French nouvelle-vague-musicals à la Jacques Demy’s Les Parapluies de Cherbourg(1964) and Les Demoiselles de Rochefort(1967). Parapluies is a gloomy liefdeshistorie packaged as a colorful opera movie; Demoiselles acts as a two-hour eye – and orenfeest that occasionally under a thick color, singing and danslaag refers to a slightly less cheerful reality. The colorful and poetic of the Demy films flowed seemingly effortlessly in the L. A. of Chazelle.
Los Angeles is, however, no city which is often an actual ‘role’ such as that in, say, Paris, Berlin or New York is often the case. If the city exceptionally well in the foreground appears, is that often in a negative light. Chazelle based his more optimistic representation on Pulp Fiction (1994). Quentin Tarantino’s fair and at the same time, quasi-fantasieachtige L. A. chimes in La La Land, and also the documentary Los Angeles Plays Itself (2003, Thom Andersen) is responsible for the image of the fictionalized city of Los Angeles. Further influences are Sunset Boulevard (1950, Billy Wilder), The Bad and The Beautiful (1952, Vincente Minnelli), Boogie Nights (1997, Paul Thomas Anderson) and Short Cuts (1993, Robert Altman).
If you just can’t enough of Emma Stone and Ryan Gosling, you can always turn to Crazy, Stupid, Love(2011) and Gangster Squad (2013). The duo exudes a chemistry that explodes off the screen. The La La Land-director refers to the recycling of the Stone-Gosling-partnership also immediately to an ancient Hollywood process: couples like Fred Astaire and Ginger Rogers were popular with the public, and were, consequently, time and time again together on the big screen to shine. Allegedly an option at that Chazelle Top Hat (1935, Mark Sandrich) for the entire cast and crew. The film works as a perfect example of the legendary duo-residence.
Blink with the eyes, and you miss the young man who looks suspiciously like the main character from Le ballon rouge(1956, Albert Lamorisse), including his signature red balloon. Even more balloons appear during Emma Stone’s photo shoot for a constructed triumphal arch; a homage to Funny Face(1957, Stanley Donen). The dance scene at the Griffith observatory, is a direct reference to Rebel without a Cause (1955, Nicholas Ray). That last one had actually a lot of letterlijkere entry, since the characters of Stone and Gosling, the film in the cinema.