How Good Are La La Land's Musical Numbers?

Summary

This video provides a detailed and critical analysis of the directing choices in *La La Land*, focusing on the opening number 'Another Day of Sun'. The reviewer highlights issues with chaotic choreography, poor framing, and sloppy camera work that hinder the film's potential. While acknowledging the film’s ambition and beautiful visuals, the video contrasts these elements with the more precise and harmonious direction of Vincent Minnelli’s work in *Brigadoon*. The review critiques the lack of coordination between camera and choreography, resulting in a lack of visual clarity. Despite the flaws, the video recognizes *La La Land's* daring attempt at creating a musical masterpiece.

Takeaways

• 😀 The opening number, 'Another Day of Sun,' is criticized for sloppy choreography and disorganized camera work.
• 😀 The camera struggles to follow the dancers, creating a sense of visual chaos and poor framing in the musical sequences.
• 😀 The reviewer introduces the concept of 'coats' (visual focal points) and critiques the lack of effective 'coat' moments in *La La Land*.
• 😀 Choreography in *La La Land* is described as weak, with slow and uninspired moves that fail to impress without music.
• 😀 The reviewer emphasizes the importance of a coordinated relationship between the choreography and the camera, something *La La Land* lacks.
• 😀 The review compares *La La Land*’s directing to Vincent Minnelli’s work, specifically highlighting the precise and harmonious framing in Minnelli’s musicals.
• 😀 A key issue is the lack of space for the camera to move within the choreography, which results in poor blocking and lack of fluidity in the camera’s movements.
• 😀 The film is criticized for not taking full advantage of the visual language of musicals, with missed opportunities for effective use of space and camera work.
• 😀 Despite its technical shortcomings, the film is praised for its ambition, as director Damien Chazelle attempts to create a modern masterpiece.
• 😀 The review concludes that while *La La Land* is visually stunning in some moments, it falls short in technical execution, especially in its choreography and framing.

Q & A

What is the speaker's overall opinion on *La La Land*?

The speaker acknowledges *La La Land* as an ambitious and visually appealing musical but criticizes its direction, choreography, and some technical aspects, particularly regarding the camera work and framing of dance numbers.

What does the speaker mean by 'coat' in the context of the video?

The 'coat' is a metaphor used by the speaker to describe the central focus of the scene, typically the key visual element that the audience should be paying attention to, whether it's a character, object, or action.

What specific criticism does the speaker have about the opening number, 'Another Day of Sun'?

The speaker criticizes the opening number for being poorly composed, with disorganized choreography, bad framing, and a lack of visual harmony. They also describe the choreography as sloppy and amateurish.

Why does the speaker emphasize the need for better camera work and choreography?

The speaker believes that good musicals require the camera to work in harmony with the choreography, following the dancers rather than clumsily trying to catch up with them. They argue that proper visual composition and precise choreography are essential for conveying the energy and beauty of musical numbers.

How does the speaker compare *La La Land* to classic musical films?

The speaker compares *La La Land* to films directed by Vincente Minnelli, such as *Brigadoon*, highlighting how Minnelli's direction of dance numbers is more visually precise, with better camera movements and harmonious compositions, which they feel *La La Land* lacks.

What is the speaker's critique of the choreography in 'Another Day of Sun'?

The speaker criticizes the choreography for being too slow, simple, and uninspiring, claiming that it lacks energy and that the moves appear too basic and poorly executed, especially when compared to the standard of Broadway-level choreography.

What is the speaker's opinion on the use of the continuous shot in *La La Land*?

The speaker is not fond of the continuous shot gimmick, feeling that it often disrupts the flow and makes the composition look chaotic. They suggest that a more strategic approach to camera cuts and movement would have improved the overall impact of the musical sequences.

What example does the speaker give of a well-executed musical number?

The speaker uses the opening number of Vincente Minnelli's *Brigadoon* as an example of effective musical direction, praising its clear composition, controlled camera movements, and the careful arrangement of dancers and background action.

How does the speaker view the dancing in *La La Land*, particularly in the scenes involving Emma Stone and Ryan Gosling?

The speaker finds the dancing in *La La Land* lackluster, describing it as slow, awkward, and lacking in energy. They suggest that Emma Stone and Ryan Gosling's movements appear uncomfortable and insufficiently skilled for the level of dance required in a musical.

What is the speaker’s take on the cinematography in the pool party scene?

The speaker is highly critical of the pool party scene, particularly the spinning camera shot, which they describe as visually chaotic and unnecessary. They feel the camera movement detracts from the choreography and disrupts the clarity of the scene.