One of the enduring criticisms of La La Land is the extent to which it indulges in nostalgia.
This is true of both the film and its characters. The opening scene proudly declares that the movie has been filmed in “Cinemascope”, with the landscape heavily saturated with bright colours that evoke classic Hollywood musicals even before a final showstopping number that evokes everything from An American in Paris to 7th Heaven. In this day and age, producing any big budget musical would feel like an act of nostalgia, but La La Land is a love letter to a genre that has fallen even further to the wayside than the western.
Even the characters inhabiting the film’s world are defined by nostalgia. This is most obvious with Sebastian, a jazz nerd who desperately wants to construct a loving shrine to the artform as he loves it. “It’s dying,” he urges Mia. “It’s withering on the vine.” Sebastian laments the conversion of a cultural landmark into a “samba and tapas” restaurant. However, Mia is implied to be just as nostalgic. Her room is decorated with classic Hollywood memorabilia. When she finishes a rendition of her one-woman show, she asks Sebastian, “Is it too nostalgic?”
This sense of nostalgia has become an obvious line of attack against La La Land, particularly once it emerged as a Best Picture frontrunner. This is the way that things work; the same accusations were leveled at films like The Artist and Argo, to pick two recent examples. However, these criticisms miss one of the more compelling and nuanced aspects of La La Land‘s nostalgia. The film clearly pines for a lost past, wistfully remembering a world that no longer exists. However, it also accepts that loss. Unlike most exercises in nostalgia, La La Land understands that things can have value because they end.
Note: This post contains spoilers for La La Land, including a discussion of the film’s ending. Go see it. Then come back.