Winner of seven Golden Globes, the romantic drama La La Land is a pitch-perfect musical. It has been directed by Damien Chazelle, a filmmaker who is no stranger to music being the central theme of his work. Whereas his other films such as Whiplash (2014) and Grand Piano (2013) were fiercely intense, La La Land is pure whimsy. Not only is it an ode to Hollywood musicals of a bygone era, it is a love letter to the city of Los Angeles, to the finer points of jazz music and to the zeal that drives the heart of every dreamer.

Walking out of the cinema, you may find yourself reminiscing about that one passion project you left on the backburner, perhaps, even finding the fire rekindled. The film’s incredibly-moving ending not only makes a case for following through on your heart but also depicts the bittersweet nature of sacrifice. The finale will be debated for some time to come, but I found it to be an allegory on being able to find joy in the multiple forks of life’s roads.

The third act of La La Land is where the film hits its deepest notes, morphing like an idealistic teenager would into a deliberating adult, with the weight of life’s choices on her shoulders. Until then it is a light-hearted comedy featuring a sweet romance between Mia (Emma Stone) — an aspiring actress working at an eatery located near the studio lots waiting for her big break — and Sebastian (Ryan Gosling), a pianist fervently obsessed with jazz music. The duo gets off to a bad start during the film’s opening scene, which sets the stage with a wonderfully-choreographed dance number during a traffic jam where tempers flare between the two. Things get worse when our barista accidentally spills a drink on the struggling musician.

Later, Mia hears Sebastian play a beautifully-mournful number at a restaurant and tries to pay him a compliment but is brushed off. He is in a foul mood because the restaurant’s owner Bill, played in a customary hilarious cameo by J. K. Simmons, fired him after he strayed from the Christmas music he was hired to play, in spite of repeated warnings.

Not only is La La Land an ode to Hollywood musicals of a bygone era, it is a love letter to the city of Los Angeles, to the finer points of jazz music and to the zeal that drives the heart of every dreamer

The two leads meet once again at a party. Here, Mia is seemingly tired of faking interest at socializing with Hollywood people in order to catch a break. To her surprise, playing cheesy 1980s music at the event is Sebastian on the keyboards. Finally, the two get to know each other and sparks fly.

The strong chemistry between Stone and Gosling keeps La La Land interesting, even during its more pedestrian moments in the first two acts. Both actors are excellent in their roles, especially Stone, who exudes the grace, strength and vulnerability of a talented independent woman taking risks with her life to follow her dreams. I can’t imagine Stone being denied an Academy Award for her work here.

The other stars of the film are Justin Hurwitz, whose enchanting score will take residence in your mind long after you leave the cinema, as well as choreographer Mandy Moore and cinematographer Linus Sandgren, who create magical dance visuals that will make agreeable even the most cynical of viewers.

Published in Dawn, Sunday Magazine, January 22nd, 2017