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Sebastian moves and dances gracefully, like leading men of old he practices Thelonious Monk keyboard runs at home and knows how to cook. “Two masters of freedom,” the ridiculous man intones, “playing at a time before their art was corrupted by a zillion cocktail-lounge performers who destroyed the legacy of the only American art form: jazz.”Įmma Stone portrays Mia with the temper of a human being rather than a plot vector, so it’s too bad that she is made to voice a cliché, but it’s hard to blame Mia for her skepticism about Sebastian’s interests. Seriously who is making the rules here!?” (Dunham also conjured a site called JazzHate in Season 2 of Girls.) Mia might remember the scene in Jerry Maguire in which a ridiculous young man talks to Tom Cruise with solemnity about a nonexistent Miles Davis–with–John Coltrane recording. And that in Season 4 of NBC’s Parks and Recreation, Amy Poehler, as Leslie Knope, visits her local public radio station, where a DJ plays Benny Goodman and Miles Davis simultaneously, and then says to Leslie, off mic, with right-thinking oiliness, “Research shows that our listeners love jazz.” She might know that Lena Dunham claims to hate jazz, too: Dunham said so in 2014 on li.st, the list-making social media platform. Or she might know that eight months ago, in Season 5 of HBO’s Veep, Julia Louis-Dreyfus, as Selina Meyer, joked that jazz was “way overrated,” comparing it to democracy and anal sex. “You can’t follow it and there’s no melody,” Carrie replies. “Why would you say something like that?” Ray asks. And these are not insignificant movies: Whiplash managed to go from a Grand Jury Prize win at Sundance to a Best Picture nomination at the Academy Awards, and Oscar prognosticators have already tapped La La Land as this year’s front-runner. But it’s worth dwelling on, because between this film and his previous one, Whiplash -the story of a young jazz drummer’s struggle with a sadistic music teacher-Chazelle seems to be investing in the connection between jazz and torment, whether it is the love-hate kind of torment or the hate-hate kind. The joke, years ago, became a trope, and then a screenwriter’s cliché.
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To have a sympathetic fictional character of a big-budget movie say that she hates jazz is a sign that the character is in on a long-running joke. A lot of people understand jazz to be sacred, and this makes it a target for irreverence, because sacrilege is funny-and especially when ritualized. Hatred of jazz-whether sincere or fashionable or reflexive, as a kind of sorry-not-sorry joke-runs strangely deep in American culture. But this movie wants to connect with you in code, and here is a cold-bloodedly coded moment. I can’t help, because I won’t help, unless you want to talk about it. Some people really don’t like the sounds of jazz, particularly saxophones and trumpets, and that’s fine, too. To hate jazz, or to feel alienated by it, might be tied up with issues of race, gender, class, generation, or distrust in the spiritual value of a work of art.
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Jazz is about 100 years old, and despite all the humane joy in the music of, say, Louis Armstrong or Sarah Vaughan or Ornette Coleman, it can look from a distance like a guilt-maker: a parent, a teacher, a cudgel.
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Working as a jazz critic, I’ve met people like Mia. “I should probably tell you something now, to get it out of the way,” cautions Mia (Emma Stone), an aspiring present-day actress, to Sebastian (Ryan Gosling), a stoic young jazz pianist, at a turning point in La La Land, Damien Chazelle’s new movie musical.