I wrote then deleted a paragraph in the review about the backlash of a white snob being the avatar of jazz classicism. The movie is very clearly ambivalent about this (though, it being Chazelle, it leans towards sympathetic), and the racial element is at least a little baked into it.

But I think the real root of the backlash is jealousy and narrative. Dorky-looking jazz drummer steals the hearts of millions! No way we can let anything that pleasing prevail unquestioned! And, yeah, I think you’re right, the Best Picture gaffe was the open door to do so. (Especially since it highlighted La La Land’s debatable iffiness on race qua jazz.)

Anyways, the film’s sentimentality and high peaks steamroll the flaws for me, as is pretty clear by my enthusiasm. Great shit. Would love to see it eke out that 10/10, but stay true to yourself.

La La Land is great. It’s been sitting on my coffee table for like a month, and I kind of suspect when I rewatch it, it may get that 10/10. On the other hand, I don’t suppose the issues I had with it will disappear (Chazelle cares *so much more* about the jazzman than the actress, Hurwitz’s score is samey-sounding to me, and it’s still a musical headlined by single-threats).

But the strengths are still the strengths, like the galactic dance thing homaging Lovely To Look At and perhaps exceeding it, if nothing else “it’s an actual effects scene and not just a soundstage with paintings.” And all the other cool stuff. Ryan Gosling resolutely shaking his head is hilarious. It’s a better American In Paris than An American In Paris, that’s without a doubt.

Pretty sure I have will never have much particular affection for Demy’s musicals, however, though Cherbourg is significantly better than Rochefort.