Damien Chazelle wowed the Sundance audience with "Whiplash", but "La La Land" would be something else. This would be the opening film of 72nd Venice International Film Festival. A modern-day musical, featuring Emma Stone and Ryan Gosling, which could turn heads. It would hit the theaters on December 2, which seemed the right time for this kind of genre. But lightning doesn't strike the same place twice.
For Chazelle, who earned an Academy Award nomination for "Whiplash", "La La Land" may turn out to be a huge gamble. Not that Stone and Gosling were bankable stars. They seemed to have on-screen chemistry based on the photo of the two dancing together. Metro-Goldwyn-Mayer (MGM) popularized the musical, which catapulted the likes of Judy Garland into stardom. The decline of the genre coincided with the turn of events in American society during the 1960s and 1970s. It didn't seem to be right to film a musical, as the audience won't be in the mood. If Bob Fosse was an exception, it would be due to his cynical approach to his stories. (It had a fatalistic touch.) The musical didn't recapture its spark.
Let's take a look at some of the musicals that were released during the last two decades. They didn't meet the high expectation. It could also be a case of wrong timing. And there would be more. Here's the breakdown:
Pocahontas (1995) by Mike Gabriel and Eric Goldberg. This Disney musical received mixed reviews, which affected its box-office performance. Historians didn't like the inaccurate portrayal of Pocahontas, but they should know better. This was an animated film. It was also a Hollywood picture. And moviegoers would forget it. But Mike Gabriel and Eric Goldberg were vindicated. Anna and Elsa (of "Frozen) have a semblance to Pocahontas. Some would insist that it wasn't a coincidence.
Everyone Says I Love You (1996) by Woody Allen. There was no doubt about Allen's brilliance, but the likes of him would come up with a lemon. In this case, a musical where everyone would sing and dance by the drop of the coin. Some would admit that this was a bad idea, and they happened to be admirers of Allen's films. Allen did sing, but let's skip this one. Edward Norton sang and danced in another number, which turned out to be an awkward experience. Drew Barrymore seemed out of place until she starred in another comedy that paid tribute to the 1980s. It hit the right notes.
The Producers (2005) by Susan Stroman. Unless you've seen the original, you won't have mixed feelings about it. Mel Brooks was sorely missing in the set, as well as his stingy one-liners. As for the soundtrack, Uma Thurman was rather memorable in "Pulp Fiction".
Hairspray (2007) by Adam Shankman. The remake of John Waters's romantic musical was set in 1962, but the values were several decades ahead of its time. It was a politically-correct picture, which didn't sit well with some viewers. Waters wasn't a politically-correct figure, which gave the original the hard edge that resonated with the audience. John Travolta may have the blast while playing a supportive mother to an overweight high school student (who had big dreams), but only a few would remember it.
Mamma Mia! (2008) by Phyllida Lloyd. The premise (about a teenage girl having three possible fathers) seemed hard to believe until film enthusiasts would recall "Buona Sera, Mrs. Campbell". (Gina Lollobrigida played the Italian woman who slept with three American GIs during the American Occupation of Italy.) Fans would insist that this film was an homage to ABBA. The same film buffs would point out that it didn't seem natural at all. Muriel Heslop was the reason.
Will “La La Land†be the latest addition to the list? This may be the right time to raise your voice.
