La La Land [Region 2]

劇場で見て気に入り、日本版のディスクが出る前に繰り返し視聴したいと思っていました。リージョンの異なるディスクですが再生にも問題はなく、満足しています。

dvdの方は見れませんでしたが ブルーレイの方はソニーでも気長に待つとロード画面が現れて見れました

ブルーレイの読みこみに5分くらいかかりますが無事再生できました♪ 日本盤には英語の字幕がなさそうだったのでこちらを購入しました。 映画のシーンの曲の部分だけを集めた特典もとても嬉しいです。

映画を観て、どうしても手元に欲しくてしょうがなく、輸入品だけど、買いました。リージョンナンバーが違うので、輸入ＤＶＤは購入要注意です。

発送も早く、すぐに手元に届きました。 メニュー画面の表示まで時間がかかりますが、北米版でも再生できます。 英語字幕は、独特のニュアンスややりとりが読み取れるのでいいです。

詳しい読書感想文的なレビューは他の方に任せて 自分は純粋に見た感想になります まずはこれはミュージカル映画と定義されていますが 大昔のミュージカル映画を想像してはいけない映画です 「天使にラブソングを」や「ドリームガールズ」古くは「ブルースブラザース」などの映画と同じです 劇中に突然、歌が入りますがとても自然で情緒的な場面や盛り上がる場面で不自然さはありません 「ダンサー・イン・ザ・ダーク」的な不愉快さも無いし映画はやはり歌って踊るが大正義だと感じる事が出来ます ヤフーのレビューなどで「間違えて観てしまった。ミュージカル映画キモッ」的なレビューを見ますが お前はラーメン屋って看板の店に入って「チャーハン食いたかったのに無かった。死ね」って言う位に 頭のおかしいレビューを書いている事に気がつけ！！ 内容自体は古臭い内容ですがそれが良い 監督自身も「昔のハリウッドを取り戻したい」的な発言もありますので 描写に懐かしさを感じる個所もハートをグッとさせられる 最初の方にミア達がパーティー会場に向かう場面でネオンサインがバックに流れたり シャンパンが注がれていくシーンなど70年代などの映画の手法では（笑 でも、それがいい！！ きっと、あちらこちらに過去の映画がトリビュートされているのであろう 自分はあまり気がつかなかったが… そして、日系の女優であるソノヤミズノも美しい… ミアのルームメイト役だが断然の脚の綺麗さに驚く それ以上に驚くのがライアン・ゴズリングが冒頭で演奏を練習している曲は 滝廉太郎の「荒城の月」だ まぁ、それをアレンジしたセロニアス・ モンクの'６６年のアルバム『STRAIGHT,NO CHASER』の中にある 『JAPANESE FOLK SONG』という曲だが、まさかの曲で中学時代の音楽の授業を思い出す そして、シーンは進み急に流れ出す「テイク・オン・ミー」www 衣裳も80年代で格好の良いライアン・ゴズリングも大草原で草www 40代以上のおっさん、おばさんの心をここでわしづかみwww ミアのダンスだっておかしい アドリブなのか振付けなのかはわからないが決して素敵では無いダンス（笑 前半と後半にあるから見逃すなwww 話が進むとライアン・ゴズリングも売れ出すが そのグループの曲もまた良い ただしその歌声を出すのはジョン・レジェンドだ！！ なに？？聞いた事が無い?? そんなことは無い！！ 名前は知らなくとも曲は聞いた事のある奴だ！！ ローリン・ヒル、アリシア・キーズ、ジャネット・ジャクソン、メアリー・J・ブライジなどの アルバムなどに参加しており、代表曲である「All of Me」はyoutubeで視聴回数 1,102,635,355 回（本日現在）だ あとは、観ていて気が付くのが日本製品の登場シーンが目に留まる ミアの愛車はプリウスで駐車場ではプリウスのカギが並ぶシーンもある カメラマンが「これはダメだ！！そっちのを持ってこい」と言って渡されるカメラは SONY製だ 一時期はハリウッド映画内のPCやスマホがサムスンだったりしたが これは日本製品の再評価の流れなのか?? この映画は確かに本当のミュージカルファンには面白くないかもしれない 「コーラス・ライン」でも無いし、「ヘアスプレー」でも無い 「オペラ座の怪人」みたいに豪華絢爛でも無い でも、普通の映画ファンなら観る価値のある映画だ 高校生のカップルが観るような映画と評したレビュアーも見かけた でも、それのなにが悪い！！ 仕事に家庭に子育てに不倫に疲れて感傷的になった心にズンと響く映画でもある オンナ心が解る映画でもあるので多くの男性にも意味のある映画だろう

こんな恋を人生で味わったことのある人は 幸せなのか 不幸なのか？ ラストシーンで静に微笑み合う二人の姿が 全てを表していて涙を誘う 出会えて良かった映画の一本と思う

こんなにも楽しみにしていた作品は久しぶり。 冒頭の渋滞のハイウェイのシーンから惹きつけられましたが、丘の上でミア（エマ・ストーン）とセバスチャン’（ライアン・ゴズリング）がタップを踏むシーン、プラネタリウムでミアが舞い上がるシーンがロマンチックで、強く印象に残りました。 溢れる音楽、軽快なダンス、カラフルな映像で、晴れやかな気持ちになりましたが、段々雲行きが怪しくなり、最後の２０分くらいは、胸が締め付けられました。 あのラストは、人生に「たら、れば」はないと、観客の誰もがわかっていながらも、「たら、れば」と思わずにはいられないシーンではないでしょうか。 ハッピーエンドを好む私には微妙なエンディングで、割り切れない思いを抱きました。 でも、あのラストがなければ、ただ楽しいだけの映画で終わり、こんなにも胸が痛み、切ない作品にはならなかったとも思います。 ミア役のエマ・ストーンは終始可愛かったです。 セバスチャン役のライアン・ゴズリングは、どんどんイケメンに見えてきて……不思議。 日本車「プリウス」は、風刺？ オマージュが多い作品でもあります。 「ロシュフォールの恋人たち」「雨に唄えば」「理由なき反抗」「カサブランカ」「シェルブールの雨傘」等々。 「アカデミー賞授賞式」のあの信じられないハプニングとともに、ミアとセブの物語は、永く語り継がれていくのではないでしょうか。

Sadly it wasn't abundantly clear that this DVD is printed in Spanish. Considering the cost it arrived as a great disappointment as it was intended as part of a Christmas gift. They wouldn't accept the return, despite their claim, without me paying for shipping - given it came from Spain this was not cost effective.

En esta película vemos cómo dos personas hechas el uno para el otro desarrollan una relación romántica, donde ambos se impulsan a lograr sus metas, en compañía de un soundtrack fuera de este mundo. La sorpresa llega con el final. Cuando la película muestra sus verdaderos colores y el espectador cae en cuenta que está viendo una película de terror. APLAUSOS! Porque encontrar el amor, conocer a una persona, embarazarse, crecer en tu carrera, y lograr fama mundial mientras estás mebarazada y olvidar en menos de 5 años es completamente imposible Felices 10 años Alpraland!

it's just normal blue ray and dvd with digital set. the 3rd dvd is pointless and could have been added on the special features on the blue ray disc itself. limited ed just marketing to make the bundle more important than it is. the 3rd disc the content of the 3rd disc is just a panel interview of the main production team of damien, emma, justin, AND doesnt even have Gosling on the panel. this is not a diss on emma, justin, and damien but making this bundle a 3 disc set was not necessary is an unnecessary money grab. if this ever comes back dont waste your money on this and buy the normal bluray set.

I admittedly came into this film with low expectaions, prepared to suspend the vivid memories of musicals that have moved me; or the great exponents of the American popular song (Sarah, Ella, Billie, Sinatra); or the most soulful improvisers in jazz (Coltrane, Louis, Mobley, Bill Evans, Wyn Kelly). It was a tall order, trying to forget about Chaplin ("City Lights," "Modern Times"), Fred and Ginger ("Swing Time"),; Gene Kelly and Leslie Caron or Debbie Reynolds). "American in Paris" is my personal all-time fav, though I concede that "Singin' in the Rain" reigns as the greatest of all screen musicals. Compared with any of the foregoing examples, I expected "La La Land" to be bright and gauzy, purely escapist "fluff"--and in one sense, it is. Anyone who believes that a struggling, mediocre jazz pianist (it takes one--i.e., this writer--to know one) would end up with his own jazz club ("Seb's Place"), which is unbelievably large and filled--is living in a dream world which this movie, in its best moments, "evokes" but does not lie about. Outdoor jazz festivals have long since replaced jazz clubs as the only lucrative venues for jazz artists--though the public's notion that there are still musicians who can "make a living" by playing jazz remains, in the 2nd decade of the 21st century, a myth of gigantic, even dangerous, proportions. (Successful jazz musicians secure MacArthur grants, guest professorships, UNESCO projects, conservatory teaching gigs, etc.--from which they can pick and choose when and where they play "out.") The opportunities for actors let alone "song and dance" performers are almost as remote, especially when proportionality is factored in (there are only so many musicals for a seemingly infinite number of contestants). But despite its improbabilites, this movie won me over, for some of the following key reasons: 1. The two photographs in Seb's (Ryan Gosling's) pad are of John Coltrane and Bill Evans (I wonder what percentage of viewers recognized them). These two figures, I always felt, are the two most important, seminal musicians in the second half of jazz history. (The essential figures in the first half are more numerous: Louis Armstrong, Duke Ellington,Count Basie, Coleman Hawkins and Lester Young, Charlie Parker and Dizzy Gillespie.) But those two photographs--in combination with Seb's dismissal of the music of Kenny G (not jazz) and his learning from records (LP's, which is how my college friends and I learned how to play the music)--that was enough "realism" to bring a degree of seriousness to the story of Seb and Mia (Emma Stone). Additionally, there are numerous references to jazz as a dying art and as an old story that belongs in the previous century. In the face of such sad but undeniably true testimony, Seb's refusal to write the music's obituary ("Not on my watch!" he says) strikes us as believable. (I know quite a few musicians who believe as Seb.) 2. When Mia (Emma Stone) fails to show on time for Seb's offer of a date at the movies, she becomes distraught and runs to the movie theater (where Seb is conveniently seated, alone, closest to the screen). Emma walks unto the stage and, in effect, becomes part of the movie that Seb is watching. It's one of those magic moments in which the viewer suspends disbelief, a captive to Orson Welle's definition of the movies as "a ribbon of dreams." We realize we're watching a movie about movies--which is exactly the privileged position that "Singin' in the Rain" ( a movie about the evolution and essence of the movies) affords the viewer (admittedly, with greater, more enduring satisfaction). 3. The critical dance number in which we're allowed to see the connection between the two dreamers even before they themselves realize it is definitely not wasted in "La La Land." It occurs outside, above a parking lot overlooking Los Angeles' lights at night. True, it's not Astaire or Kelly (though it would be hard to fault either Gosling or Stone as singers--since their celebrated forebears were not especially notable for their singing voices). The scene manages to be at once spell-binding and compelling, thanks to the lighting, the mis en scene and, above all. a cooperative camera that refuses to relinquish its job to some editor. In a shot that is breath-taking in its duration (not a single cut!), the space is preserved between the pair, thanks to the third member of the dance team, which is necessarily the cooperative camera. 4. Seb's "submission" to John Legend's offer to play in his "futuristic" band (an electrified fusion-disco ensemble), was totally believable and familiar to this viewer. Watching Gosling standing up while holding down, with a single hand, the keys of a small electric piano (Keith Jarrett long ago dismissed all electrics as "toys"), I could only imagine how I looked as a week-end "keyboard player" doing the same (I went through four Fender Rhodes keyboards--one stolen from the band van--and that was before the Yamaha DX7 and digital keyboards replaced most analog keyboards). So there's some believability about a musical that's set AFTER the age of jazz and the American musical (the source of most of the "jazz standards" comprising the "Great American Songbook"). Moreover, the aforementioned moments of realism come after the awakening number on the crowded Los Angeles freeway--four lanes of congested traffic all headed in the same direction! But instead of honking their horns during a major snarl-up, the occupants of each car escape from their mobile prison boxes and, like a rapidly spreading wildfire, burst out in song and dance! What a way to open a musical! Perhaps not in its most "classic" form but at least close enough to "Saturday Night Fever" and "Grease" to arrest and hold our attention. The love story is as simple as they come--with one difference. Boy and girl don't end up with each other (except in their imaginations). Here the movie has an opportunity to score points about the invidious threat of the "American Dream Factory," which attracts, then chews up and spits out 99% of the aspirants who allow themselves to become bewitched in the gauzy fantasy of "La La Land." Instead it allows us to fantasize that Seb and Mia are forced, merely, to settle on a consolation prize. They don't end up with each other, but each makes a choice that's close enough to their original dreams. As a result, they're finally left with some semblance of the over-taught and over-read Robert Frost poem, "The Road Not Taken" (Oh, how things might have been different. Oh, if only life didn't offer us such choices. Maybe we should seek citizenship in N. Korea.) Give the director points for using, in place of digital cameras, genuine film. (It works in subconscious ways to make the viewer a privileged member of a 1950s audience.) And Emma Stone for her compelling performance (those eyes! that mature voice!). The talent of her character is absolutely convincing because we hear it and see it in each of her scenes. The talent of Ryan Gosling (who is said to have taken a year or two of piano lessons prior to filming) is less apparent. Although he's insistent about his purist dedication to creative, acoustic jazz, we hear no more than a minute or two of authentic jazz throughout the entire course of the movie--and it's not from his plano playing. (The anemic "love theme" that he reprises in the movie's final scene is the playing of an amateur--and, so for that matter, are the other songs in the film. I know few musicians who would not believe that, given the assignment, they could do the same.) Maybe that's the point--to enable today's viewer to "relate"--even to instrumental music. Hearing Art Tatum or Oscar Peterson would drive people away. The playing of Ryan Gosling and the songs in the score have the opposite effect. Maybe each of us should write a musical and seek the 30 million dolars to film it. (All the same, there's a song sung by Sarah Vaughan--"Words Can't Describe"--that offers a sublime melody with a perfectly fitted set of lyrics. Moreover, it's included on an album--"Swingin' Easy"--that lists the song as "Public Domain." That alone could be inspiration for a musical with at least one show-stopping, unforgettable song (along with a big savings in time and money spent on permissions and royalties). I had no trouble whatsoever when Warren Beatty announced "La La Land" as the best picture of 2016. But when, moments later, the announcement was voided and "Moonlight" was declared the rightful winner, I was equally good with the Academy's pick.

Veio tudo certinho com o bluray mas a luva veio com alguns amassados, o que me deixou preocupado com o que teria acontecido com o bluray se não tivesse essa luva mas tirando isso tá tudo perfeito além da qualidade no bluray ser excelente. Sem áudio ou legenda em PT BR nesse aqui.