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Posted: |
Dec 13, 2016 - 3:46 PM
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By: |
Jon Broxton
(Member)
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Since you've seen the film could you give us a chronological order combining the 2 albums?
Based on just one viewing of the film, and my memory, I think the chronological listing of the two albums combined is:
1. Another Day of Sun (written by Justin Hurwitz, Benj Pasek, and Justin Paul, performed by the Cast of La La Land) (3:48)
2. Mia Gets Home (0:25)
3. Bathroom Mirror/You’re Coming Right? (1:22)
4. Someone in the Crowd (written by Justin Hurwitz, Benj Pasek, and Justin Paul, performed by Emma Stone, Callie Hernandez, Sonoya Mizuno and Jessica Rothe) (4:19)
5. Classic Rope-a-Dope (0:45)
6. Mia & Sebastian’s Theme (1:36)
7. Stroll up the Hill (0:48)
8. A Lovely Night (written by Justin Hurwitz, Benj Pasek, and Justin Paul, performed by Ryan Gosling and Emma Stone) (3:56)
9. There the Whole Time/Twirl (0:44)
10. Bogart & Bergman (2:11)
11. Mia Hates Jazz (1:10)
12. Herman’s Habit (1:51)
13. Rialto at Ten (1:39)
14. Rialto (0:28)
15. City of Stars (written by Justin Hurwitz, Benj Pasek, and Justin Paul, performed by Ryan Gosling) (1:51)
16. Mia & Sebastian’s Theme (Late for the Date) (1:29)
17. Planetarium (4:19)
18. Holy Hell (0:41)
19. Summer Montage/Madeline (2:04)
20. City of Stars (written by Justin Hurwitz, Benj Pasek, and Justin Paul, performed by Ryan Gosling and Emma Stone) (2:29)
21. It Pays (2:11)
22. Start a Fire (written by John Legend, Justin Hurwitz, Marius De Vries, and Angelique Cinelu, performed by John Legend) (3:12)
23. Chicken on a Stick (1:39)
24. City of Stars/May Finally Come True (feat. Ryan Gosling & Emma Stone) (4:17)
25. Chinatown (1:22)
26. Surprise (1:30)
27. Boise (1:13)
28. Missed the Play (0:36)
29. It’s Over/Engagement Party (1:34)
30. The House in Front of the Library (0:30)
31. Audition (The Fools Who Dream) (written by Justin Hurwitz, Benj Pasek, and Justin Paul, performed by Emma Stone) (3:48)
32. You Love Jazz Now (0:50)
33. Cincinnati (2:06)
34. Epilogue (7:38)
35. The End (0:46)
36. Credits (3:39)
37. Mia & Sebastian’s Theme (Celesta) (1:25) – Bonus, not in the film
38. City of Stars (Humming) (2:42) – Bonus, not in the film
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Thanks!
I think #20 and #24 are the same track with underscore added to #24. They sound exactly the same on Spotify, same laughter in the exact same spots from Emma Stone. The underscore kicks in around the 1:50 mark and the singing returns around 3:41 and finishes just like the #20 version. I've seen a clip of this scene, I think, and they are singing at a piano in, what I assume, is one of there apartment/home.
Thanks again though, I can't wait to get the score album later this week and combine the 2.
By the way, I enjoyed your review. I'm really excited to see this movie.
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I tend to like musicals, and I wanted to like this, but it really did nothing for me. I found the tunes completely unmemorable.
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So, do we need to get both CD's, or not?
And what are the differences between them?
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just heard it on spotify.very very enjoyable.i loved whiplash and enjoyed his script for grand piano.looking forward to lalaland.the trailer is gorgeous.
Well, I'm one of the few who found Whiplash ultimately tiresome, and if he wrote Grand Piano, that was one of the most inept and laughably bad films I've ever seen. Obviously you don't play the piano 
He is the reason I'm so trepidatious about this film. It sounds like all the musical numbers are some kind of fantasy thing - and yet everyone's acting as if this was an old-fashioned movie musical, in the sense that they just break into song the way they do in book musicals - no one will actually answer that question coherently, but from everything I've seen that's what it appears to be - all numbers coming out of some sort of fantasy or performance. In other words, a "safe" movie musical for those who can't stand the actual convention of a musical.
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I saw it a few nights ago - thought it was pretty to look at and that it was okay. However, if I want to really watch a Jacques Demy film I'll watch a Jacques Demy film - the filmmakers have acknowledged that's what they were doing and it's clear from frame one right through to the end - only they're not quite Demy. This is especially true of the songs, 90% of which are basically the same chord progressions - I couldn't believe it, really. He's so trying to be Michel Legrand and he's so not of that melodic inspiration.
I suspect that the lovers of the film, the ones who find it so "unique" have never seen a Demy film, not that they'd like them if they did. This is the "it" movie this year - there's one or two every year.
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Posted: |
Dec 26, 2016 - 4:14 AM
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By: |
That Bloke
(Member)
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I saw it a few nights ago - thought it was pretty to look at and that it was okay. However, if I want to really watch a Jacques Demy film I'll watch a Jacques Demy film - the filmmakers have acknowledged that's what they were doing and it's clear from frame one right through to the end - only they're not quite Demy. This is especially true of the songs, 90% of which are basically the same chord progressions - I couldn't believe it, really. He's so trying to be Michel Legrand and he's so not of that melodic inspiration.
I suspect that the lovers of the film, the ones who find it so "unique" have never seen a Demy film, not that they'd like them if they did. This is the "it" movie this year - there's one or two every year.
I agree mostly with the above comments. The composer is no Legrand but I still thought his tunes were good and suited the film. And yes, 90% of the songs are the same chord progression, but I felt that was an intentional creative decision. I thought it clever how the songs shared the "chord-progression DNA" but were given enough development to stand out. It reminded me of the way Goldsmith used a motif to fashion an entire score, giving the score cohesion. However... let's see what Mr Hurwitz does with his future output to see if he's a "one-trick-progression".
I liked the nods to "An American In Paris", and I didn't think they were trying to copy Demy so much as pay him homage. It sure was refreshing after seeing so many cookie cutter franchise films recently.
And did anyone else pick that this was "New York, New York" relocated with a makeover?
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Posted: |
Dec 29, 2016 - 2:21 AM
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By: |
SchiffyM
(Member)
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I suspect that the lovers of the film, the ones who find it so "unique" have never seen a Demy film, not that they'd like them if they did. This is the "it" movie this year - there's one or two every year.
Ah Bruce, every time I worry that I've become too cranky, I can always count on you to out-crank me! (I mean that with love.) It has been many years since I've seen a Demy film, but there's a reason for that – it has been many years since Demy made a film, especially in his heyday. I would rather see filmmakers inspired to revisit a half-century old, long-abandoned style than that they decided to go into filmmaking because their lives changed when they saw "The Rock."
And while Gosling and Stone are no Astaire and Rogers, I admired that their dance numbers were filmed in long unbroken takes, rather than the current fashion of using cuts to imply that people standing still are amazing dancers. The opening number on the freeway was very impressive to me (and I'm glad I wasn't caught behind it on my commute!).
As for the chord progressions, like that bloke above, I assumed the point was that all the songs grew out of the same basic DNA, but until I hear more from Hurwitz, I of course can't be sure.
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