Chazelle, Carney, and the Modern Musical

Summit Entertainment, Fox Searchlight Pictures

The main reason that the movie musical has all but died out, is because it’s earnest. True, noble intent has little place in the sphere of cinema. Gone are the days of Technicolor, Cinemascope, and the recycling of Gershwin’s and Porter’s music to create huge, colorful sets and characters. What we have left, as the descendants of these impressive works of art, are animated children’s films. Most original songs nominated for the Academy Award come from animated films, indies, or big impressive blockbusters. Luckily there are two superb voices still left in modern filmmaking, who make movie musicals with a streak of humble nobility: John Carney and Damien Chazelle. Though you may not know their names, you undoubtedly have seen or heard of their beautifully poignant movies. Their filmographies may only have several entries but these are the men creating a new era of musical taste and sophistication.

Damien Chazelle

Chazelle has risen to fame fairly recently, but he made his first musical in 2009 as his original thesis project for Harvard. “Guy and Madeline on a Park Bench,” took on the tradition of the MGM movie musical, but the final result was more gritty and realistic. Filmed on 16mm black and white film stock the film looked and felt like a casual yet fun musical that connected the traditions of Old Hollywood with the realism of Broadway productions such as “Rent,” and “Hedwig and the Angry Inch.” All of the music was original, composed by Justin Hurwitz with lyrics by Chazelle. The film was oft compared to the work of Godard, and the musical stylings of Miles Davis, making for explosive critical acclaim, and a foot in the door for the fledgling director.

After finishing work on “Guy and Madeline…” Chazelle became a writer for hire, including helping co-write “The Last Exorcism Part II” and the Elijah Wood helmed “Grand Piano.” While the former was a spectacular failure, “Grand Piano” was applauded for its strange and tense thrill, and the technical aspects of shooting around the odd premise. Trying to work out his frustrations with not making his own films, Chazelle started working on a script based on his time as a jazz drummer in high school. The result was the renowned, “Whiplash,” which Chazelle turned into a short film, shown at Sundance in 2013. The film stars J.K. Simmons as a tough as nails musical director who takes on the morose and pompous Miles Teller. His abusive directing style starts to take a toll on his star pupil, and a breakdown assures him of a downward spiral. “Whiplash” is an amazing film that blends together the tactile physical limitations of being a drummer, and the imperceptible ease of doing everything right.

“Whiplash” was not a musical in the same vein as “Guy and Madeline…” but it was just as explosive and renowned as any MGM musical. The film landed Simmons a Best Supporting Actor Oscar and put Chazelle on the map. He had many promises to make his own film, but in the meantime he wrote the script for “10 Cloverfield Lane,” starring John Goodman, another tense thriller that he wrote for J.J. Abram’s Bad Robot production company.

Chazelle’s newest venture is the movie musical “La La Land,” which opened the Venice Film Festival this year. The film has a slated release for December 2nd, 2016, and stars Ryan Gosling and Emma Stone. Without a doubt I can say that this is an Oscar contender. The songs are all original, the shooting style is dreamy and yet incandescent, and the leads are high profile. This film seems directly attributable to “Guy and Madeline…” as the plot similarly follows two creatives who fall in love and find the stress of success surmounting their relationship. It promises to be as vibrant and rich as past efforts, and inspired by the musicals of yesteryear.

John Carney

His name may not be all that familiar, but his work is better known than Chazelle’s. Carney began his musical career as a bassist for the Irish rock band The Frames, between 1991 and 1993. He directed some of their music videos, and several award winning short films in his native Ireland. He became a semi-recognizable name in Ireland, directing films such as “On the Edge,” starring Cillian Murphy, and creating the very successful show “Bachelor’s Walk.” Carney didn’t dip back into his musical roots until 2007, when he directed the beloved, and critically acclaimed, musical “Once.” Starring guitarist and singer Glen Hansard and Czech singer and pianist Markéta Irglová, the film contained all original songs. “Falling Slowly,” even won for Best Original Song at the 2008 Academy Awards. The film was highly successful and created the musical group “The Swell Season,” composed of Hansard and Irglová, who had a doc of the name released in 2011. The film has even contributed to a Broadway production of the same name, which won eight Tonys in 2012.

Carney was a staid professional director in Ireland, and felt no need to make more movie musicals based on his fame from directing “Once.” Still, the need to create stories surrounding music was unescapable, and Carney flitted make to the genre of movie musical in 2013 with the film “Begin Again.” Starring Kierra Knightley and Mark Ruffalo as a budding musician and repressed music producer, the film felt electric and fun, while also dealing with tough issues like settling for someone, branching out on your own, and reconciling your past and present. The film featured all original songs written by Carney, Hansard, and Gregg Alexander. This was the first singing role for Knightley, and the first acting role for Adam Levine, who played her highly successful musician boyfriend, Dave. Overall the film is a blissful, funny, and often light hearted musical that features really beautiful and entertaining performances. The film was nominated for Best Original Song for “Lost Stars,” at the 2014 Academy Awards but lost to “Glory” from “Selma.”

Carney’s musicals are not as non-diegetic as the MGM inspired films of Chazelle. Carney’s films deal with the issues of the music industry, band life, and inspiration as a performer, which he has tackled in all his movie musicals. “Once” was a love story but it was also about putting together an album. “Begin Again,” centered on two failed relationships, but it also dealt with selling out and trying to be your own person when people want to groom you for stardom. In his newest film Carney relates to his own childhood and nostalgia via the music of the eighties.

“Sing Street,” is the most personal film that Carney has ever produced, and was lauded when it premiered at Sundance in January. Framed as the Irish answer to the Swedish film “We Are Best,” this film follows a down and out teen on the precipice of puberty’s unforgiving reign. Ferdia Walsh-Peelo plays the lead, Conor, who is trying to impress a typical eighties romantic interest by starting a punk band. Among the band of misfits who follow his lead are a multi-instrumental wunderkind, and several friends, all trying to hide their awkwardness in Bowie garb. The music is authentic eighties featuring, “The Cure,” “The Jam,” “Spandau Ballet,” and “Hall & Oates,” as well as some original songs. There may even be a chance of an Oscar nom for Best Original Song, founded in Carney’s past history. Though this is not a critical darling like Chazelle’s recent work, this is a fun and earnest film. There haven’t been that many musicals released this year, and “Sing Street,” is far and above many other contenders, as well as being a personal ode to eighties band culture.

The movie musical has not been replaced, but instead neglected. While Broadway has evolved and changed for the better, the movie musical has not, which lends to it being a dated genre. Musicals are supposed to be buoyant and free, but the only musicals being made today are either bleak or have to tackle a subversive issue. Carney and Chazelle are dealing with intense emotions, but they are also paying tribute to the people who gave them their careers, and made musicals synonymous with grandeur or wide appeal. While Carney is much more interested in music careerism than musicals, he still appeals to the nostalgic in all of us, with his clear love of music. Chazelle is interested in everything from MGM, to jazz, to magical realism, and he will continue to grow and become a classic auteur. The path of the movie musical seems well tended with Chazelle and Carney leading the way.