I wasn’t thinking of anything when I rewatched Mulholland Dr. the same week we saw La La Land, another movie with great songs in which a girl follows her dreams to Hollywood. Emma Stone’s Mia eventually becomes the star that Betty only dreams of being, after a casting agent sees her one-woman show. Her man Ryan Gosling sets aside his own dreams of running a jazz club to tour with his friend John Legend’s band Jazzhammer. Everyone acts like this is a tragic move on Ryan’s part, but he was broke, so how was he gonna afford his own club without building up cash from those lucrative Jazzhammer tours? Either way, Emma thinks he’s selling out his dreams, and their jobs mean they have to spend months apart, and there’s a fight, and suddenly it’s five years later and Emma and her husband duck into Ryan’s successful new club for a bittersweet Umbrellas of Cherbourg-style ending (noticed a suspicious Parapluies shop on the studio backlot, too), but not before indulging in a (shared?) musical fantasy of how their relationship might have worked out.
Nice to see a strong musical with dancing and singing and Rebel Without a Cause references on the big scope-letterboxed cinema screen. Katy thinks all couples should always end up together at the end of movies, but otherwise she liked it.
If the movie’s opening and closing production numbers are by far the most impressive and powerful, this is because they’re both responses to realities perceived as unbearable — which becomes all the more unbearable in the latter case by being disguised as a phony happy ending … La La Land is far more about the death of cinema and the death of jazz than it is about their rebirth or survival. It’s about boarded-up movie houses, antiquated analog recordings, and artistic aspirations that can only be fulfilled (as well as fueled) by fantasy.