La La Land: Classic Film References

Since the release of La La Land (2016), articles and videos have circulated the internet naming the numerous film references dotted throughout the picture. Being a musical and a homage to musicals from the golden age of Hollywood, one expected to see inspiration from classics such as Singin' in the Rain (1952) and An American in Paris (1951) at least, but what the makers of LLL have done is incorporate so much more. Not just references from musicals but from other classic films and even modern musical successes.


Personally I did enjoy La La Land. It is a stunning picture to behold with a lovely score, and a charming tribute to the classic Hollywood musical. My main issue with the film was the songs: I didn't leave the cinema with the songs in my head and I wasn't humming them the following day or searching for them online (usually a sure sign of whether the songs are stand-out). The score itself is gorgeous, but with the exception of 'City of Stars', lyrically I feel the songs aren't catchy or memorable enough. Also the story itself falls a little flat halfway through but I felt the ending saved it. Stone and Gosling were strong leads (minus perhaps Gosling's singing). With everyone raving about the film I was expecting it to be much more disappointing, however, it was better than I expected. I'd definitely recommend it to anyone who enjoys musicals, it's certainly enjoyable and has a feel-good vibe. Is it the masterpiece that critics are hailing though? I wouldn't say so, not by a long shot, but it does treat viewers to some sumptuous imagery. No doubt it will win many of the awards it is nominated for this season - if there's two things Hollywood loves to reward it's 1.) films about Hollywood, and 2.) films that make Hollywood look good.

Here are some of my favourite references that can be found in Damien Chazelle's, La La Land:

Vertigo (Alfred Hitchcock, 1958)
One of my favourite films, Vertigo is spellbinding in so many ways and Hitchcock loves using colour/lighting to create the mood in his films. The scene in question here is in the hotel room where Jimmy's Stewart's character is waiting for Kim Novak's transformation - where the light from a green neon sign outside filters softly into the room creating an eerie and ominous feeling. LLL uses the same green lighting to great effect - both drawing us in and warning us of impending trouble in a less creepy/sinister situation but still a serious/unpleasant one.

It's a Wonderful Life (Frank Capra, 1946)
Another film starring James Stewart, (maybe Chazelle is a fan of him too). This one hasn't been confirmed and I've yet to see anyone else point it out, but this scene where we see a struggling Seb get fired at Christmas reminded me of George Bailey's Christmas Eve breakdown in It's a Wonderful Life. Both characters are filmed with their hair dishevelled, looking exhausted, spent, and helpless, and having hit rock bottom in a bar at Christmas.

An American in Paris (Vincente Minnelli, 1951)
There are multiple times in which LLL references this Gene Kelly classic. The legendary ballet sequence was a triumph in cinema and the peak of both Kelly and Vincente Minnelli's artistic geniuses. In the film, Kelly plays a painter in Paris, and so they use a rustic, French-style painting background for the majority of the ballet sequence. It gives off a dreamy and romantic ambience, which is another reason I assume LLL uses it in this particular scene. The same scene also reminds me of the 'Love Is Here To Stay' number which Kelly performs with Leslie Caron next to the River Seine.

Broadway Melody of 1940 (Norman Tauroug, 1940)
It's amazing how much something so simple as a dark background, twinkling lights, and a shiny floor to mirror it all can create such a magical setting. LLL uses it as the backdrop for the perfect first date and it has to undeniably be inspired by the 'Begin the Beguine' number performed by Fred Astaire and Eleanor Powell in Broadway Melody of 1940. It's a stunning setting and showcases both dancers dramatically. Even when Astaire and Powell have other performers and musicians in the scene sporadically, it feels like they are the only souls in the world. That's the feeling LLL captures in the scene with Stone and Gosling, swirling and twirling in a galaxy of stars.

My Favourite Gowns from Classic Hollywood...

Here are just a few of my favourite gowns from that age where nothing was more glamorous than Hollywood and it's leading ladies.

First up, Elizabeth Taylor wearing Edith Head's white tulle evening gown with floral bust from A Place In The Sun (1951). This was copied by department stores across the US, and was a big hit during prom season.

Elizabeth Taylor wearing Edith Head's grecian style evening gown in Elephant Walk (1954).

No list would be credible wiithout some of Marilyn Monroe's best dresses designed by the brilliant William Travilla. My favourite Marilyn dress is her dark pink number from the film How To Marry A Millionaire (1953).

One of Marilyn's most famous dresses is her bright pink one from Gentlemen Prefer Blondes (1953) when she performs' Diamonds Are A Girl's Best Friend.' Although this dress is gorgeous, I believe her bright orange dress and her gold gown (which you only see the back of in the movie because it was believed to be too revealing) are much more beautiful.

Next up in Marilyn's envious collection of gowns, are the tiger dress and the infamous white halter neck dress from The Seven Year Itch (1955), again designed by William Travilla. One thing I have noticed is that so many people mimic Marilyn and the other great stars who wore such beautiful gowns, but nobody wore the dresses like them.

And the last of Marilyn's gowns are two from There's No Business Like Showbusiness  (1954)- her outfits in this film have received the same iconic status in fashion as her other gowns, but they are equally as gorgeous and spectacular, total credit to Travilla! Also here is her unbelievably sexy pink dress from Niagara (1953), a dress that sent people's hearts racing for the first time when Marilyn's stardom was just beginning to take off.

The dresses so far have been from the 1950s, now to have a splash of 1940s Hollywood glamour, and who is more perfect to look at than Rita Hayworth and her to-die-for wardrobe in Gilda (1946). Not just her 'Put the Blame on Mame' black, strapless, satin number, but her nightgown, her two-piece ensemble she wears when performing 'Amado Mio,' and her white/light blue? satin gown she wears when living with Glenn Ford. 

The last of Rita's costumes that I adore are the ones she wore in the musical You Were Never Lovelier (1942). They are not her most famous, but they really are beautiful designs, involving some of the most glamorous looking materials that simply hug Rita's slender figure, making her appear like a true goddess.

 Two more gowns from the 1940s could not be more different. One is Ava Gardner's famous one shoulder black/navy velvet dress that she wore to become a notorious femme fatale in the film noir The Killers (1946). Figure-hugging, and eye-catching, the gown was a show-stopper in the movie, and helped cement Ava as one of the biggest sex symbols of the decade. The second dress is the wonderful red Christmas gown Judy Garland wore in the beloved musical Meet Me In St. Louis (1944). Me and my sister wanted this dress for our barbies when we were little, but now I'd just love it myself.

 Now what list would be complete without the effortlessly elegant Grace Kelly, and the gowns she wore in Alfred Hitchcock's Rear Window (1954) and To Catch A Thief (1955). In Rear Window, Grace plays one of the most stylish ladies in New York high society, and much like Liz Taylor's similar character in A Place In The Sun, Edith Head had to ensure that Grace was in gown's that were at the height of fashion. My favourite of these was the first dress we see her in, a classic white and black ensemble, finished with pearls, white gloves, and handbag - Grace looked immaculate.

The second gown of Grace's that I love, that features in To Catch A Thief, is not the white strapless chiffon evening gown, but the blue grecian style evening gown. This is probably my favourite dress out of all the dresses. Grace has a gorgeous golden tan in this film, and against the beautiful blue of the dress, she looks absolutely gorgeous - a real Helen of Troy.

Although all of these actresses and their gowns are iconic and seen as the epitome of style and glamour, none are more iconic than Audrey Hepburn and her wardrobe in Sabrina (1954) and Breakfast at Tiffany's (1961). Although Edith Head was credited with the costume designs of Sabrina, and won an Oscar for her work there, the three iconic gowns/outfits of the films that got people talking were designed by Hubert deGivenchy. One of these was the unusually designed white evening gown with black embroidery (forgive me I don't know any design jargon). When Audrey makes her appearance at the Larrabee party in the film wearing this gown, we all fall in love with her.

But of course, Audrey is most memorable for her outfits in Breakfast At Tiffany's. We all remember her character, Holly Golightly, walking down 5th avenue and six o'clock in the morning, in the most elegant black dress we ever saw. She has many lovely outfits in this film, my other favourite being her bright pink cocktail dress - she looks like a princess in this dress, particularly with her tiara.

And finally, last but by no means least - is the earliest of the gowns mentioned. I already written a blogpost for this particular gown, but I have to include it. The scarlet gown that Vivien Leigh wears in Gone With The Wind (1939) is, for me, the greatest of all the movie gowns. With it's ruby studding, scarlet feathers, and stunning design, this dress is breathtaking every time we see it. Designed by Walter Plunkett, this dress is the jewel in the crown for the epic - all of Leigh's costumes are spectacular, but none quite match the magnificence and majesty of this gown.

That's all for now folks! I know there are many wonderful gowns in old Hollywood pictures worn by Jean Harlow, Joan Crawford and all the other actresses, but these are my personal favourites, the ones I want in my wardrobe, and the ones that take my breath away every time.