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article-groups leadg-100 mb-8"><li class="le font-polysans-mono text-12 font-medium upperse trackg-12 text-blurple"><a class="hover:shadow-unrle-her" href="/movie-reviews">Movie Review</a><span class="px-6">/</span></li><li class="le font-polysans-mono text-12 font-medium upperse trackg-12 text-blurple"><a class="hover:shadow-unrle-her" href="/entertament">Entertament</a><span class="px-6">/</span></li><li class="le font-polysans-mono text-12 font-medium upperse trackg-12 text-blurple"><a class="hover:shadow-unrle-her" href="/film">Film</a></li></ul><h1 class="mb-28 hidn max-w-[900px] font-polysans text-45 font-bold leadg-100 selectn:bg-ankl-20 lg:block">La La Land review: a glorly earnt Sg' the Ra for the 21st Century</h1><span class="sticky-nav-trigger"></span><div class="flex flex-l lg:flex-row-reverse lg:jtify-end"><div class="flex-l lg:flex lg:ml-40"><div class="mb-24 grow"><h1 class="le font-polysans text-22 font-bold leadg-110 md:text-33 lg:hidn">La La Land review: a glorly earnt Sg' the Ra for the 21st Century</h1><span class="font-polysans text-22 font-light leadg-110 md:text-30 lg:block"><span class="text-blurple"> / </span><h2 class="le selectn:bg-ankl-20">This is a film that don't pull punch on any of s big, broad emotns</h2></span></div><div><div class="mb-16 w-[200px] borr-t borr-gray-bd lg:hidn"></div><div class="mb-2 text-blurple [&>p>span:first-child]:text-gray-13 [&]:text-gray-13"><p class="duet--article--article-byle max-w-[550px] font-polysans text-12 leadg-120"><span>By</span> <span><span class="duet--article-byle-and"></span> <span class="font-medium"><a class="hover:shadow-unrle-her" href="/thors/tasha-robson">Tasha Robson</a></span></span></p></div><div class="duet--article--date-and-ments mb-12 font-polysans text-12 text-gray-5a le-block"><time dateTime="2016-12-09T17:50:00.000Z" class="duet--article--timtamp font-polysans text-12">Updated<!-- --> <!-- -->Dec 9, 2016, 5:50 PM UTC</time><span class="mx-8">|</span><button tle="Go to ments" 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style="box-sizg:borr-box;display:block;width:ial;height:ial;background:none;opacy:1;borr:0;marg:0;paddg:0;paddg-top:66.63636363636364%"></span><img alt="" siz="(max-width: 768px) lc(100vw - 100px), (max-width: 1180px) 700px, 600px" srcSet="(3072x2040:3073x2041):format(webp)/ 16w, (3072x2040:3073x2041):format(webp)/ 32w, (3072x2040:3073x2041):format(webp)/ 48w, (3072x2040:3073x2041):format(webp)/ 64w, (3072x2040:3073x2041):format(webp)/ 96w, (3072x2040:3073x2041):format(webp)/ 128w, (3072x2040:3073x2041):format(webp)/ 256w, (3072x2040:3073x2041):format(webp)/ 376w, (3072x2040:3073x2041):format(webp)/ 384w, (3072x2040:3073x2041):format(webp)/ 415w, (3072x2040:3073x2041):format(webp)/ 480w, (3072x2040:3073x2041):format(webp)/ 540w, (3072x2040:3073x2041):format(webp)/ 640w, (3072x2040:3073x2041):format(webp)/ 750w, (3072x2040:3073x2041):format(webp)/ 828w, (3072x2040:3073x2041):format(webp)/ 1080w, (3072x2040:3073x2041):format(webp)/ 1200w, (3072x2040:3073x2041):format(webp)/ 1440w, (3072x2040:3073x2041):format(webp)/ 1920w, (3072x2040:3073x2041):format(webp)/ 2048w, (3072x2040:3073x2041):format(webp)/ 2400w" src="(3072x2040:3073x2041):format(webp)/" dg="async" data-nimg="rponsive" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver"/></span><div class="duet--media--ptn pt-6 font-polysans-mono text-12 font-light leadg-130 trackg-1"> <ce class="duet--article--dangeroly-set-cms-markup le not-alic text-gray-63 dark:text-gray-bd [&>a:hover]:text-gray-63 [&>a:hover]:shadow-unrle-black dark:[&>a:hover]:text-gray-bd dark:[&>a:hover]:shadow-unrle-gray [&>a]:shadow-unrle-gray-63 dark:[&>a]:text-gray-bd dark:[&>a]:shadow-unrle-gray">Lnsgate</ce></div></figure></div></div></div></div><div class="relative md:mx-to md:flex md:max-w-ntaer-md lg:max-w-none"><div class="duet--article--article-body-ponent-ntaer clearfix sm:ml-to md:ml-100 md:max-w-article-body lg:mx-100"><div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">Full disclosure: is jt possible that <em>La La Land </em>is not for you. <a href=">Damien Chazelle</a>'s follow-up to his Osr-wng breakout film <em>Whiplash</em> got such rapturo rpons s early ftival releas that started to sound like a perfect movie, pable of wng over even the worst curmudgeons. (Further proof: It won over the Washgton D.C. and New York Film Crics llectiv, which both named the bt film of 2016.) But the early screengs were largely for a select crowd of termed ftivalgoers and dtry profsnals who've chosen reers makg, marketg, or jt talkg about the movi. In other words, the people who ially saw and loved <em>La La Land</em>, and hailed as 2016's likely Bt Picture ontnner, are s target dience. It's openly aimed at cephil who regnize the overt referenc to <em>Sg' the Ra, Wt Si Story</em>, and <em>The</em> <em>Umbrellas Of Cherbourg. </em>It's meant for viewers who feel a ltle ternal flutter when characters stroll across a stud backlot, surround by the acutrements of moviemakg, then burst to song and dance.</p></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">Not everyone lov mils, though, and <em>La La Land</em> won't sce anyone who thks <em>The Sound of Mic</em> is grotquely rny, or that <em>Umbrellas of Cherbourg</em> is some dty old foreign film where nothg much happens. But for people who do love those movi, and the unselfnscly joyo romantic ials they reprent, <em>La La Land </em>is a glor feast for the ey and the soul. Its plete lack of rtrat, cynicism, or self-nscns v viewers to drop their own rervatns and jt feel the big, broad emotns as they're played out on-screen, through memorable songs and elaborate fantasy sequenc.</p></div><div class="duet--article--article-body-ponent clear-both block"><div class="duet--article--dangeroly-set-cms-markup my-40"><p><iame width="853" height="480" src=" ameborr="0"></iame></p></div></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">The players are jazz pianist Sebastian (Ryan Goslg) and barista-slash-actrs Mia (Emma Stone), two LA rints who are past ready for some kd of big break. Sebastian is a prcipled jazz fan who rag at any ht of promise, and whose latt rtrant gig, dutifully plkg out ral-wallpaper Christmas rols a classy rtrant, don't last long. (He's workg for an equally unpromisg owner played by <em>Whiplash </em>Osr-wner J.K. Simmons, a wk-wk meo.) But Sebastian dreams of buyg a famo historil jazz club, and re-creatg s glory days. Mia, meanwhile, works at a nteen on the Warner Bros. lot, dutifully endurg awful dns and endls self-doubts.</p></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">Together, they go through all the ual rom- motns: they meet cute, exasperate each other, and exprs all wh mutual needlg and snappy banter. But all the biggt nflicts a mil eventually turn to dancg, and om dancg, Sebastian and Mia segue to datg. Soon, Mia's practily ph Sebastian to tourg wh a hugely popular band, playg mic he hat for a bandlear (John Legend) he nsirs a sellout. Meanwhile, Sebastian's reckls enthiasm bolsters Mia to qutg her job to wre and stage her own one-woman play, regardls of the nsequenc. Both of them are livg out a certa form of the artistic dream — she's followg her me whout seekg anyone else's approval, he's got a lucrative and steady gig, where dotg dienc cheer for him every night. But neher of them are happy, bee they're embracg each other's ia of succs, at the expense of their own.</p></div><div class="duet--article--article-body-ponent clear-both block"><div class="duet--article--dangeroly-set-cms-markup my-40"><p><q class="left">The choreography is one of the film's biggt assets</q></p></div></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe"><em>La La Land</em>'s first act sets up Mia and Sebastian's relatnship wh a terrific mixture of energy and gravy, as they banter, flirt, and dance through one classilly staged pas ux after another. (Choreographer Mandy Moore has been a regular ntributor on petn shows like <em>Dancg Wh The Stars</em> and <em>So You Thk You Can Dance</em>, and her mastery of tight, precisn Astaire-and-Rogers ordated movement is one of the film's biggt assets.) The story falters a b after that, shg some sequenc, and leapg forward time a way that pletely chang the film's tone and tempo. To Chazelle's cred, he rists the most obv story beats, and his unnventnal story sets up a powerhoe fal sequence that's signed to wrg maximum tears out of the dience, while lettg them appreciate the cunng nstctn. Like <em>Whiplash</em>, <em>La La Land </em>is forceful and unpromisg about the emotns wants viewers to feel. And like <em>Whiplash</em>, mic as an endlsly effective weapon agast any possible ristance.</p></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">It also self-aware humor, a vivid ndy-lored palette, and a seri of inic LA settgs, om the Angels Flight funicular to Griffh Observatory, where <em>Rebel Whout A Cse</em> set s most famo sequence. Chazelle is open about his referenc: one of the many approvg nods to Old Hollywood, Sebastian and Mia watch <em>Rebel </em> a theater before headg to the observatory. In their first dance, Sebastian even do a ltle whirl around a nveniently placed lamppost, a llback to <em>Sg' the Ra</em>. This is a movie of hat-tips, almost more of a meta-mil than an pennt story.</p></div><div class="duet--article--article-body-ponent clear-both block"><div class="my-9"><div class="transn-all duratn-300 ease--out"><div class="fixed set-0 h-[110vh] w-full bg-whe transn-all duratn-300 ease--out z-[-1] cursor-flt opacy-0"></div><div role="button" aria-label="Zoom" tabx="0" class="visible z-30 w-full orig-center transn-all duratn-300 ease--out cursor-zoom-"><figure class="transn-all duratn-300 ease--out lg:mx-0"><div><div class="duet--media--ntent-warng relative" style="paddg-top:52.55952380952381%"><span style="box-sizg:borr-box;display:block;overflow:hidn;width:ial;height:ial;background:none;opacy:1;borr:0;marg:0;paddg:0;posn:absolute;top:0;left:0;bottom:0;right:0"><img alt="La La Land" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" dg="async" data-nimg="fill" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver"/><noscript><img alt="La La Land" loadg="lazy" dg="async" data-nimg="fill" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver" siz="(max-width: 1023px) 100vw, 744px" srcSet="(840x441:841x442):format(webp)/ 376w, (840x441:841x442):format(webp)/ 384w, (840x441:841x442):format(webp)/ 415w, (840x441:841x442):format(webp)/ 480w, (840x441:841x442):format(webp)/ 540w, (840x441:841x442):format(webp)/ 640w, (840x441:841x442):format(webp)/ 750w, (840x441:841x442):format(webp)/ 828w, (840x441:841x442):format(webp)/ 1080w, (840x441:841x442):format(webp)/ 1200w, (840x441:841x442):format(webp)/ 1440w, (840x441:841x442):format(webp)/ 1920w, (840x441:841x442):format(webp)/ 2048w, (840x441:841x442):format(webp)/ 2400w" src="(840x441:841x442):format(webp)/"/></noscript></span></div></div></figure></div><div class="z-1 w-full hidn"><figure class="transn-all duratn-300 ease--out lg:mx-0"><div><div class="duet--media--ntent-warng relative" style="paddg-top:52.55952380952381%"><span style="box-sizg:borr-box;display:block;overflow:hidn;width:ial;height:ial;background:none;opacy:1;borr:0;marg:0;paddg:0;posn:absolute;top:0;left:0;bottom:0;right:0"><img alt="La La Land" src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" dg="async" data-nimg="fill" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver"/><noscript><img alt="La La Land" loadg="lazy" dg="async" data-nimg="fill" style="posn:absolute;top:0;left:0;bottom:0;right:0;box-sizg:borr-box;paddg:0;borr:none;marg:to;display:block;width:0;height:0;m-width:100%;max-width:100%;m-height:100%;max-height:100%;object-f:ver" siz="(max-width: 1023px) 100vw, 744px" srcSet="(840x441:841x442):format(webp)/ 376w, (840x441:841x442):format(webp)/ 384w, (840x441:841x442):format(webp)/ 415w, (840x441:841x442):format(webp)/ 480w, (840x441:841x442):format(webp)/ 540w, (840x441:841x442):format(webp)/ 640w, (840x441:841x442):format(webp)/ 750w, (840x441:841x442):format(webp)/ 828w, (840x441:841x442):format(webp)/ 1080w, (840x441:841x442):format(webp)/ 1200w, (840x441:841x442):format(webp)/ 1440w, (840x441:841x442):format(webp)/ 1920w, (840x441:841x442):format(webp)/ 2048w, (840x441:841x442):format(webp)/ 2400w" src="(840x441:841x442):format(webp)/"/></noscript></span></div></div></figure></div></div></div></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">But that, too, was spired by <em>Sg' the Ra — </em>which was parodyg Even Olr Hollywood, while matag a heavy dose of affectn for as a more nocent and enthiastic era of movie magic. Both films sk ep to ializatn and nostalgia. And both are full of -jok and referenc, but still endlsly earnt about emotns, and enthiastic about the physily of dance. <em>La La Land </em>is sentially this century's <em>Sg' the Ra</em>, om the showy dance numbers to the vividly lored stum to the cheeky humor.</p></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">The biggt difference is that Goslg and Stone largely lack the force of personaly Gene Kelly and Debbie Reynolds brought to <em>Sg' the Ra</em>. Their voic make them odd choic for a full-sle mil: Goslg's is gravelly and shy, and Stone's is mostly the kd of high, thready whisper that earned Helena Bonham Carter so much disda Tim Burton's <em>Sweeney Todd</em>. When 's fally time for Stone to belt, she belts, and 's a wonrful moment. The thematic reasons Chazelle held her back sudnly bee clear. But too much of the film's ntime leav her whispery, unrstated mo. Still, the two of them have a terrific physil prence, and they handle the mands of the dance well enough to erase uncertaty about their uncerta voic.</p></div><div class="duet--article--article-body-ponent clear-both block"><div class="duet--article--dangeroly-set-cms-markup my-40"><p><q class="center">The giddy energy of a director g back om a major succs</q></p></div></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">It remas to be seen whether <em>La La Land </em>n whstand the tt of time, the way s spiratns have. But Chazelle suggts he isn't terted history so much as livg the moment, and creatg somethg that says what he wants to say about the specific uplift of classic Hollywood mils. The craft of <em>La La Land</em> is impecble, om the energetilly active mera to the stagg and productn sign that re-creat the past whout feelg dated. But there's a reckls cks to the productn as well, an attu that says "The dience is on our si here. We'll py whatever we want, be as broad and unsubtle as we want, and skip ahead at random, to whatever part of the story terts most." This is the giddy energy of a director g back om a major succs, and seizg on the eedom to play wh whatever toys he wants.</p></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe">There's a flippant exchange partway through <em>La La Land </em>where Mia worri about her one-woman show: "It feels really nostalgic to me." "That's the pot," Sebastian tells her. "Are people gog to like ?" she asks. And he giv her a manic gr and says "Fuck 'em." They're obvly talkg more about Chazelle's productn than Mia's, and this moment, Chazelle is remdg the dience that he don't really re if some people the theater aren't on board. His stars are dancg through a faiar playground, and 's enough that anyone who remembers the mov and the feelgs is ved to e along for the ri.</p></div><div class="duet--article--article-body-ponent"><p class="duet--article--dangeroly-set-cms-markup duet--article--standard-paragraph mb-20 font-fkroman text-18 leadg-160 -trackg-1 selectn:bg-ankl-20 dark:text-whe dark:selectn:bg-blurple [&_a:hover]:shadow-highlight-ankl dark:[&_a:hover]:shadow-highlight-blurple [&_a]:shadow-unrle-black dark:[&_a]:shadow-unrle-whe"><em>This review origally appeared on September 14, 2016 njunctn wh the film's screengs at the Toronto Internatnal Film Ftival. It has been republished to ci wh the film's wi theatril openg.</em></p></div></div><div class="mb-40 mt-30"><button class="duet--article--ments-button group le-flex h-40 w-full ems-center jtify-center round-[2px] borr-[1px] borr-solid borr-blurple font-polysans-mono text-11 font-light upperse trackg-12 text-blurple hover:bg-blurple hover:text-whe md:w-to md:px-30"><svg class="mr-10 le pt-2" width="12" height="14" fill="none" viewBox="0 0 12 12" stroke-width="1px" xmlns="><tle>Comments</tle><path d="M2.4 9.1h-.207l-.147.146L.5 10.793V1.2c0-.384.316-.7.7-.7h9.6c.384 0 .7.316.7.7v7.2c0 .384-.316.7-.7.7H2.4Z" stroke="currentColor"></path></svg><span class="ral-unt" data-ral-id="29029c6d-327d-4202-9064-83f23a0afe30"></span></button></div></div><div class="duet--layout--rail max-h-[8000px] max-w-[300px] hidn z-0 text-whe lg:flex lg:flex-1 lg:flex-l"><div class="flex-to"><div style="m-height:250px;m-width:300px;posn:sticky;top:90px;marg-bottom:40px" class="_1gsaw2w0 _1gsaw2w5" 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Greg was Mia Dolan's boyiend at the begng of La La Land. Mia eventually breaks up wh him orr to date Sebastian Wilr. Fun fact, Greg was actually gay! Greg is currently talks wh serval sp-off movi, cludg an expected sequel Greg's New Groove and Christmas film Jgle...

Contents:

WHY GAYS WILL GO GAGA FOR LA LA LAND

* lala land gay *

Notably, La La Land was also cricized for s lack of gay characters on the basis that, well, there are a lot of gay people Los Angel but none the film. LGBT people and other vulnerable populatns have been thrown to emotnal turmoil sce the printial electn w by Donald Tmp, whose mpaign has fueled homophobic, transphobic, and xenophobic forc across the untry.

Camp--once the d language of gays triumphg over dull nventnaly--may be over, but La La Land, the new movie mil starrg Ryan Goslg and Emma Stone and totally lackg the humor or style that not mp, kills the movie-mil genre ad. But jt as his hyperactive storytellg never settl to a moment of genue romantic, erotic attractn or a great song (no great songs here), Chazelle don't show the special affectn for the stylized exprsn of emotn that always ma movie-mils the special lectatn of gay viewers.

GAY MOSW MOSW CY GUI

Explore gay Mosw wh Mr Hudson. The bt of Mosw for the discerng gay man. Where to sleep, eat, drk, shop and play. * lala land gay *

)Gay posers, directors, and film-lovers, already self-nsc about the genr-basis of urtship nventns and pecially terted subvertg or transcendg society's mundane rtrictns, me to appreciate movie-mils as liberatg art through a refed sense of the bt movie-mil creators and performers munited that refement--even up to the great era of mic vios when Madonna quoted Gentlemen Prefer Blons ( Material Girl); Michael Jackson quoted Wt Si Story ( Beat It); Prce quoted Sg' the Ra ( Kiss); and Bjork quoted The Umbrellas of Cherbourg ( It's Oh So Quiet). He advertently achieved mp whenever his creepy jazz film Whiplash rembled a gay stunt-teacher S&M romp. But here, his non-mp stct wast any possible gay ronance.

Gog Down La La Land Prolific gay wrer, director, producer and sometime actor Casper Andreas shows signs of maturg talent wh "Gog Down La La Land." * lala land gay *

" So why isn't this a jazz mil rather than a pop pastiche manglg the profound, gay dreams that French director Jacqu Demy and poser Michel Legrand pneered Lola, The Umbrellas of Cherbourg, The Young Girls of Rochefort, Un Chambre en ville, and Three Seats for the 26th?

Director Casper Andreas' gay drama centers on a young actg hopeful who fds that Hollywood is a rough town. * lala land gay *

(That's a syllab for Gay Cema 102.

The real movie-mil advance me 1998 wh the gay filmmakg team Olivier Dustel and Jacqu Marte's tribute to Demy, a mil about AIDS activism and the gay search for ial love tled Jeanne and the Perfect Guy. (Dustel and Marte return next year wh the revolutnary gay romance Theo and Hugo. " Or is that too gay?

Here the new arrival is Adam (Matthew Ludwski), a gay would-be actor who rooms wh Candy (Allison Lane), a iend-girl om New York who’s also lookg for her big break — or sugar daddy — while explag the dos and don’ts of workg Los Angel. After Adam scrambl for work of any sort, low-level nnectns lead to gay pornography and s apparent sile, rt on a novel by Andy Zeffer and directed by Casper Andreas, “Gog Down” falls well short of pellg, eher as a g-of-age film, a satire or a romance. Fun fact, Greg was actually gay!

*BEAR-MAGAZINE.COM* LALA LAND GAY

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