I don't say that often, in fact...never. There aren't enough superlatives to describe the amazingness of Whiplash. Damien Chazelle crafted not just a tense dramatic piece of cinema, but a thematic experience with layered subtext. Andrew is a college student who simply wants to be the best drummer. Terence Fletcher, a renowned teacher at said college, sees potential in Andrew and chooses him to be the drummer in his band, at the expense of emotional distress. This is a brutal character study, absolutely savage. This is about Fletcher as much as it is about Andrew. The psychological battle and the consequential emotional turmoil that follows. I've never been so compelled in a drama ever (and this is my 5th viewing). The strive for perfection amidst the continuous passion that elevates Andrew as a person and how Fletcher uses his passion in attempt to obtain the perfect musician that Andrew hopes to be. The struggle for perfection is difficult in any profession, there is no right or wrong way to achieve this; the question is: "is there a line between gently pushing someone towards a goal or inflicting emotional torture upon them?". Fletcher leans towards the latter, so much so that he actually imposes physical damage to Andrew to test whether he will be discouraged from the harsh reality of perfection or not. The internal struggle in Andrew is excellently conveyed, you can see his passion seeping through the blood, sweat and tears and yet mentally unable to cope with Fletcher's methods. A simple story, but executed with such ferocity and intelligence that it just feels fresh. Damien Chazelle directed the heck out of this. Quick cuts between the musical instruments and nice long takes of Miles Teller and J.K Simmons duelling in anger. Speaking on Simmons, the best performance I've seen in years. Both complicated and terrifying simultaneously, he deserved every award. Teller was near perfect as well, conveying innocence and vulnerability. Look, I can talk about Whiplash forever. It's a masterpiece. End of review.
1,652 Reviews
This is review #572....so is there really any need to say more?!
planktonrules18 July 2015
"Whiplash" is a terrific film...no doubt about that. Normally, I'd spend several paragraphs talking about how great it is except that I am the 572nd review and many people have already gone on and on about what a terrific film it is....so what can I add?! It's the 40th highest rated film on IMDb after all!
J.K. Simmons clearly deserved the Oscar for Best Supporting Actor because although he was no the star of the film, he dominated every moment he was on the screen. Was he a likable guy? No way..but he was mesmerizing. Kudos also for the young actor in the lead and everyone else with this film. It's among the best films of the year and one that impressed me so much because it did not have a complicated script of mega-million dollar special effects--it just had terrific acting, writing and direction. See this film and see how a quality film is crafted. 'Nuff said...
J.K. Simmons clearly deserved the Oscar for Best Supporting Actor because although he was no the star of the film, he dominated every moment he was on the screen. Was he a likable guy? No way..but he was mesmerizing. Kudos also for the young actor in the lead and everyone else with this film. It's among the best films of the year and one that impressed me so much because it did not have a complicated script of mega-million dollar special effects--it just had terrific acting, writing and direction. See this film and see how a quality film is crafted. 'Nuff said...
An important hardened lesson in resilience and when to stop measuring up to your mentor. Whiplash is a captivating study of ambition.
Sergeant_Tibbs23 October 2014
Taking the festival circuit by storm since its Sundance premiere in January, Whiplash is starting to feel like the underdog that could go far with its crowd-pleasing intensity. On the surface, it's a gritty story about a brutal student-mentor relationship that oversteps boundaries. Underneath, it's a piercing examination of the psyche of unbridled ambition. Whiplash is a film that stops at nothing. As a result, it's the best film I've seen in years, and I say that without hesitation. This is a film that resonates on every single level and every moment counts. If writer/director Damien Chazelle was striving for greatness as much as his protagonist, then he has achieved it.
Miles Teller, who's been steadily growing on me since The Spectacular Now, stars as Andrew Neyman, a 19-year-old aspiring jazz drummer who's pushed and inspired by the abuse and aspirations of his school band leader Fletcher, played by the ferocious J.K. Simmons like we've never seen him before. Chazelle has described the film as an origin story to the jazz musicians of the golden age, and it thrives on the myths of jazz heroes such as Charlie Parker. They're urgently looking for the next Parker, in search of perfection. But with that comes a great irony. The music genre is known as one for freedom of expression but here the jazz is soulless and mechanical, and that clouds the ethical judgment of the characters. Even so, Fletcher is a man who can tell if you have the right tempo within a bar. Although most of the audience for the film may not know much about music including myself, you get a feel for what he's looking for and when someone's wrong even if you don't know why. Simmons is as good as they say he is. He's a force of nature, with a terrifying presence that incites the fear Bryan Cranston achieved with the peak of his Walter White. But it's not a one-note performance. Simmons is still subversive with moments of weakness, insecurity, approachability, and he also sometimes brings in the lightness he's known for in other roles with Jason Reitman, exec producer here.
Even though he's an unlikeable character with nothing nice to say, he's still somewhat endearing and enigmatic, much like R. Lee Ermey's drill sergeant in Full Metal Jacket. This demasculinisation through a barrage of insults is a theme explored in Whiplash and it argues whether it's a crime or an 'ends justifying the means' factor of life. It's not just a music film, but also one that adapts to the elements of sports training, war at boot camp and biopic genres with the way it frames its elements. Fletcher is representative of the devil on our shoulders that yells at us that we're not good enough and that symbolic idea resonates deeply for me. His poisonous words are more a part of Andrew's psyche than legitimate coaching techniques. What grabs me about the film is its discussion on artistic perfection, and especially in these intimate and rough sequences of practicing. What is objectively great in art? When is it good enough, and why? It toes a fascinating line. That's why drumming is such an interesting choice for the film to explore because it's so instinctive. Drummers have to make decisions within a fraction of a second and talent can only take you so far. The roaring beat in Whiplash puts your heart in your throat. Teller's performance as Andrew is terrific, one to match Simmons.
Chazelle is committed on expressing the physicality of drumming and Teller captures it exhaustively without feeling contrived. It's the virtuosity of the writing that allows us into Andrew's head however. It's a long road to the top, but the script makes the right decision to allow him to revel in the little moments of success, but then to immediately test him in surprising and involving ways. Each turn of the story shapes his expectations and ambitions and then escalates it to the right point. While the film is a gripping experience nonetheless, in retrospect perhaps it is too bitingly cynical. It does suggest that you have to be deprived of a meaningful relationship to achieve your goals. It does appear to be very anti-positive reinforcement, but perhaps it's merely a statement on the abundant sheltering that the latest generation is enduring. Whiplash is refreshing to see, we all know we wouldn't be resilient enough to take that kind of punishment so it's cathartic to watch Andrew go through it all and see how far he'll go. His frustration, regrets, fear and rage with himself cuts to the core of the human condition as he's pushed further and further.
The technical aspects of the film help it become so stimulating with dizzying closeups tightly edited together and its the stark orange tinted cinematography. It's thoroughly impressive that the film was shot in only 19 days for them to get shots so immaculately timed and performed with all those complicated movements. There's a refreshing brevity to the film with its sharp atmosphere, but it's so rich in emotion, psychological tension and personal subtext. It neither rushes nor drags, on paper nor on screen. It really is a film that lingers in your mind for days, nagging you, like Fletcher over your shoulder. Maybe it'll continue to linger for weeks. I hope so too, especially for Oscar voters. It seems that J.K. Simmons is building momentum to be a lock for Best Supporting Actor at this point. However, Whiplash isn't just a best of year film, nor best of decade. It approaches best of all-time worthy with its identifiable themes of meticulous work ethics, fulfilling aspirations, resilience of the soul, and knowing when to no longer measure yourself to your mentor. I'll take this film with me for a while as a screaming motivator.
10/10. Best film of the decade.
Read more @ The Awards Circuit (http://www.awardscircuit.com/)
Miles Teller, who's been steadily growing on me since The Spectacular Now, stars as Andrew Neyman, a 19-year-old aspiring jazz drummer who's pushed and inspired by the abuse and aspirations of his school band leader Fletcher, played by the ferocious J.K. Simmons like we've never seen him before. Chazelle has described the film as an origin story to the jazz musicians of the golden age, and it thrives on the myths of jazz heroes such as Charlie Parker. They're urgently looking for the next Parker, in search of perfection. But with that comes a great irony. The music genre is known as one for freedom of expression but here the jazz is soulless and mechanical, and that clouds the ethical judgment of the characters. Even so, Fletcher is a man who can tell if you have the right tempo within a bar. Although most of the audience for the film may not know much about music including myself, you get a feel for what he's looking for and when someone's wrong even if you don't know why. Simmons is as good as they say he is. He's a force of nature, with a terrifying presence that incites the fear Bryan Cranston achieved with the peak of his Walter White. But it's not a one-note performance. Simmons is still subversive with moments of weakness, insecurity, approachability, and he also sometimes brings in the lightness he's known for in other roles with Jason Reitman, exec producer here.
Even though he's an unlikeable character with nothing nice to say, he's still somewhat endearing and enigmatic, much like R. Lee Ermey's drill sergeant in Full Metal Jacket. This demasculinisation through a barrage of insults is a theme explored in Whiplash and it argues whether it's a crime or an 'ends justifying the means' factor of life. It's not just a music film, but also one that adapts to the elements of sports training, war at boot camp and biopic genres with the way it frames its elements. Fletcher is representative of the devil on our shoulders that yells at us that we're not good enough and that symbolic idea resonates deeply for me. His poisonous words are more a part of Andrew's psyche than legitimate coaching techniques. What grabs me about the film is its discussion on artistic perfection, and especially in these intimate and rough sequences of practicing. What is objectively great in art? When is it good enough, and why? It toes a fascinating line. That's why drumming is such an interesting choice for the film to explore because it's so instinctive. Drummers have to make decisions within a fraction of a second and talent can only take you so far. The roaring beat in Whiplash puts your heart in your throat. Teller's performance as Andrew is terrific, one to match Simmons.
Chazelle is committed on expressing the physicality of drumming and Teller captures it exhaustively without feeling contrived. It's the virtuosity of the writing that allows us into Andrew's head however. It's a long road to the top, but the script makes the right decision to allow him to revel in the little moments of success, but then to immediately test him in surprising and involving ways. Each turn of the story shapes his expectations and ambitions and then escalates it to the right point. While the film is a gripping experience nonetheless, in retrospect perhaps it is too bitingly cynical. It does suggest that you have to be deprived of a meaningful relationship to achieve your goals. It does appear to be very anti-positive reinforcement, but perhaps it's merely a statement on the abundant sheltering that the latest generation is enduring. Whiplash is refreshing to see, we all know we wouldn't be resilient enough to take that kind of punishment so it's cathartic to watch Andrew go through it all and see how far he'll go. His frustration, regrets, fear and rage with himself cuts to the core of the human condition as he's pushed further and further.
The technical aspects of the film help it become so stimulating with dizzying closeups tightly edited together and its the stark orange tinted cinematography. It's thoroughly impressive that the film was shot in only 19 days for them to get shots so immaculately timed and performed with all those complicated movements. There's a refreshing brevity to the film with its sharp atmosphere, but it's so rich in emotion, psychological tension and personal subtext. It neither rushes nor drags, on paper nor on screen. It really is a film that lingers in your mind for days, nagging you, like Fletcher over your shoulder. Maybe it'll continue to linger for weeks. I hope so too, especially for Oscar voters. It seems that J.K. Simmons is building momentum to be a lock for Best Supporting Actor at this point. However, Whiplash isn't just a best of year film, nor best of decade. It approaches best of all-time worthy with its identifiable themes of meticulous work ethics, fulfilling aspirations, resilience of the soul, and knowing when to no longer measure yourself to your mentor. I'll take this film with me for a while as a screaming motivator.
10/10. Best film of the decade.
Read more @ The Awards Circuit (http://www.awardscircuit.com/)
Just My Tempo
ferguson-626 October 2014
Greetings again from the darkness. The pursuit of greatness is not always pretty. No matter if your dream is athletics, dancing, music or some other; you can be sure hard work and sacrifice will be part of your routine. You will likely have a mentor, teacher or coach whose job is to cultivate your skills while pushing you to new limits. This film questions whether the best approach is intimidation or society's current preferred method of nurturing.
Miles Teller plays Andrew, a first year student at an elite Manhattan music conservatory. Andrew dreams of being a great jazz drummer in the vein of Buddy Rich. When offered a rare shot at the top ensemble, Andrew quickly discovers the conductor is a breed unlike anything he has ever encountered. The best movie comparison I can offer for JK Simmons' portrayal of Terence Fletcher is R Lee Ermey's Drill Instructor in Full Metal Jacket. This is no Mr Holland's Opus. Fletcher bullies, intimidates, humiliates and uses every imaginable form of verbal abuse to push his musicians, and especially young Andrew, to reach for greater heights.
Andrew and Fletcher go head to head through the entire movie, with Fletcher's mental torment turning this into a psychological thriller ... albeit with tremendous music. We witness Andrew shut out all pieces of a personal life, and even take on some of Fletcher's less desirable traits. Andrew's diner break-up with his girlfriend (Melissa Benoist) is much shorter, but just as cold as the infamous opening scene in The Social Network. At a small dinner party, Andrew loses some of the sweetness he inherited from his dad (Paul Reiser), and unloads some Fletcherisms on some unsuspecting family friends.
Writer/Director Damien Chazelle has turned his Sundance award-winning short film into a fascinatingly brutal message movie that begs for discussion and debate. The open-ended approach is brilliant, though I found myself initially upset at the missing clean wrap that Hollywood so often provides. What price greatness? Is comeuppance a reward? Are mentors cruel to be kind? For the past few years, I have been proclaiming that Miles Teller (The Spectacular Now) is the next John Cusack. Perhaps that bar is too low. Teller just gets better with each film. His relentless energy draws us in, and we find ourselves in his corner ... even though this time, he's not the greatest guy himself. Still, as strong as Teller is, the film is owned by JK Simmons. Most think of him as the dad in Juno, or the ever-present insurance spokesman on TV, but he previously flashed his bad side as the white supremacist in "Oz". Even that, doesn't prepare us for Simmons' powerhouse performance ... just enough humanity to heighten his psychological torturing of musicians.
You should see this one for Simmons' performance. Or see it for the up and coming Teller. Enjoy the terrific music, especially Duke Ellington's "Caravan". See it for the talking points about teachers, society and personal greatness. See it for any or all these reasons - just don't tell director Damien Chazelle "good job".
Miles Teller plays Andrew, a first year student at an elite Manhattan music conservatory. Andrew dreams of being a great jazz drummer in the vein of Buddy Rich. When offered a rare shot at the top ensemble, Andrew quickly discovers the conductor is a breed unlike anything he has ever encountered. The best movie comparison I can offer for JK Simmons' portrayal of Terence Fletcher is R Lee Ermey's Drill Instructor in Full Metal Jacket. This is no Mr Holland's Opus. Fletcher bullies, intimidates, humiliates and uses every imaginable form of verbal abuse to push his musicians, and especially young Andrew, to reach for greater heights.
Andrew and Fletcher go head to head through the entire movie, with Fletcher's mental torment turning this into a psychological thriller ... albeit with tremendous music. We witness Andrew shut out all pieces of a personal life, and even take on some of Fletcher's less desirable traits. Andrew's diner break-up with his girlfriend (Melissa Benoist) is much shorter, but just as cold as the infamous opening scene in The Social Network. At a small dinner party, Andrew loses some of the sweetness he inherited from his dad (Paul Reiser), and unloads some Fletcherisms on some unsuspecting family friends.
Writer/Director Damien Chazelle has turned his Sundance award-winning short film into a fascinatingly brutal message movie that begs for discussion and debate. The open-ended approach is brilliant, though I found myself initially upset at the missing clean wrap that Hollywood so often provides. What price greatness? Is comeuppance a reward? Are mentors cruel to be kind? For the past few years, I have been proclaiming that Miles Teller (The Spectacular Now) is the next John Cusack. Perhaps that bar is too low. Teller just gets better with each film. His relentless energy draws us in, and we find ourselves in his corner ... even though this time, he's not the greatest guy himself. Still, as strong as Teller is, the film is owned by JK Simmons. Most think of him as the dad in Juno, or the ever-present insurance spokesman on TV, but he previously flashed his bad side as the white supremacist in "Oz". Even that, doesn't prepare us for Simmons' powerhouse performance ... just enough humanity to heighten his psychological torturing of musicians.
You should see this one for Simmons' performance. Or see it for the up and coming Teller. Enjoy the terrific music, especially Duke Ellington's "Caravan". See it for the talking points about teachers, society and personal greatness. See it for any or all these reasons - just don't tell director Damien Chazelle "good job".
Intense
bbickley13-921-5866422 October 2014
This movie was far better than the trailer made it look.
JK Simmons gave a stellar performance as a music teacher in the best Jazz school, trying desperately to find and develop the next jazz legend. From the moment he appears he demands the screen, literately. There's a part in the flick were he just burst open the door putting a halt on whatever is going, and makes it all about what he wants, which sets the tone for the entire movie. One of the best antagonist I've seen at the movies.
Miles Teller plays the protagonist, A first year Jazz student who wants to be the next Jazz legend and is willing to go through the pain needed to become just that. I've been a fan of Miles Teller for a while and this movie just increase my fandom
It does not matter whether you are into jazz or not, this flick is about and boy willing to kill himself to become the best and the man willing to kill the boy so he can be the best. For anyone who has ever been in that kind of pressure, weather it be at college or on the playing field(I kid you not, watching these guys play Jazz played out like I was watching a Football movie with Miles being the Quarterback and JK being the coach)
It was an emotion trill ride with a lot of ups and downs, and just when you think the ride is over, we go for a second time around.
Excellence!!
JK Simmons gave a stellar performance as a music teacher in the best Jazz school, trying desperately to find and develop the next jazz legend. From the moment he appears he demands the screen, literately. There's a part in the flick were he just burst open the door putting a halt on whatever is going, and makes it all about what he wants, which sets the tone for the entire movie. One of the best antagonist I've seen at the movies.
Miles Teller plays the protagonist, A first year Jazz student who wants to be the next Jazz legend and is willing to go through the pain needed to become just that. I've been a fan of Miles Teller for a while and this movie just increase my fandom
It does not matter whether you are into jazz or not, this flick is about and boy willing to kill himself to become the best and the man willing to kill the boy so he can be the best. For anyone who has ever been in that kind of pressure, weather it be at college or on the playing field(I kid you not, watching these guys play Jazz played out like I was watching a Football movie with Miles being the Quarterback and JK being the coach)
It was an emotion trill ride with a lot of ups and downs, and just when you think the ride is over, we go for a second time around.
Excellence!!
"I'm exhausted!"
troy-daniel-bush21 August 2022
I felt like I had a workout after watching this. Something that I think everyone thought after watching it.
It's intense. You'll tap your foot. You'll be happy and sad for Andrew. And when he's not making you laugh you'll be scared of Fletcher. And you'll never feel the runtime.
J. K. Simmons is one of my favorite actors. Whenever someone asks me why I tell them, "Watch Spider-Man. Then, watch Whiplash."
It's intense. You'll tap your foot. You'll be happy and sad for Andrew. And when he's not making you laugh you'll be scared of Fletcher. And you'll never feel the runtime.
J. K. Simmons is one of my favorite actors. Whenever someone asks me why I tell them, "Watch Spider-Man. Then, watch Whiplash."
A masterful tale of inspiration, set against a world of obsession, dedication and confrontation
CalRhys31 January 2015
Warning: Spoilers
An unknown title, by an unknown director, starring an unknown lead, what does that form? Only one of the best damn dramas of this century to date. Inspiring, intense, reverent, Damien Chazelle's jazz-infused drama is an incredibly complex character study that has newcomer Miles Teller and veteran J.K. Simmons at the top of their game in this brilliant effort, 'Whiplash' is arguably the most riveting and sensational drama from 2014.
J.K. Simmons stars as antihero Terence Fletcher, a character we look at as the opportunity of Andrew's success, but also we hate for his brutal portrayal. From his profanity-clad embodiment of evil to the ever-hopeful light at the end of the film, we go through stages of loving, hating and even fearing him, a character who despite his occasional moments of sympathy, cares solely about the outcome of his orchestra, and shuns away anyone who tries to destroy that. Simmons's performance is flawless and breathless, a truly resonant achievement, and one of the most Oscar-deserving performances of recent years.
The gold and black colour palette, fast-paced editing, fluent and claustrophobic cinematography - every single component adds a fresh face to 21st century cinema and independent films as a whole, further supporting my conclusion that indie films have overtaken blockbusters for the provision of unique visions and entertainment. Chazelle's effort pays off as he creates not only one of the greatest villains of the 21st century in the form of Fletcher, but also one of the greatest movies of the 21st century, if not of all time, through which he rekindled the dying flame that is jazz.
The fusion of emotions throughout make this a film that thrusts the audience into a world of obsession, dedication and confrontation, thus ensuing a tale of inspiration, a man and his dreams of becoming a "somebody", and to conclude, let's just note that final drum solo and sense of rebellion Andrew feels, it is utter gold, truly perfect. This movie is powerful, it is intense, it is unique, it is a stunning masterpiece!
J.K. Simmons stars as antihero Terence Fletcher, a character we look at as the opportunity of Andrew's success, but also we hate for his brutal portrayal. From his profanity-clad embodiment of evil to the ever-hopeful light at the end of the film, we go through stages of loving, hating and even fearing him, a character who despite his occasional moments of sympathy, cares solely about the outcome of his orchestra, and shuns away anyone who tries to destroy that. Simmons's performance is flawless and breathless, a truly resonant achievement, and one of the most Oscar-deserving performances of recent years.
The gold and black colour palette, fast-paced editing, fluent and claustrophobic cinematography - every single component adds a fresh face to 21st century cinema and independent films as a whole, further supporting my conclusion that indie films have overtaken blockbusters for the provision of unique visions and entertainment. Chazelle's effort pays off as he creates not only one of the greatest villains of the 21st century in the form of Fletcher, but also one of the greatest movies of the 21st century, if not of all time, through which he rekindled the dying flame that is jazz.
The fusion of emotions throughout make this a film that thrusts the audience into a world of obsession, dedication and confrontation, thus ensuing a tale of inspiration, a man and his dreams of becoming a "somebody", and to conclude, let's just note that final drum solo and sense of rebellion Andrew feels, it is utter gold, truly perfect. This movie is powerful, it is intense, it is unique, it is a stunning masterpiece!
Tension, tension, tension!
drakula200528 October 2014
After seeing Damien Chazelle's Whiplash - a film the young up-and- coming director wished to do for some time now - being so beautifully realized and brought to life by everyone involved in the project, I was glad and relieved, mainly because I have seen the short film, which was pretty incredible.
I believe that among the most telling facts about a film's fortunes and qualities, is the ability to broaden it's public, but in the same time not forgetting that cinema is not all about commercial success and mass audiences.Or with other words - a film that is not just eye candy and booms and explosions, but also craft, soul, dedication and wits.
Those are some of the things not only the film itself possesses, but the people behind it have in abundance as well.
The upcoming Miles Teller plays the young and dedicated student Andrew Nieman, who has the drive, the ambition to succeed and to be great, which is fine, as long as it doesn't derail your personal life.A lesson the young drummer learns the hard way.
Blind ambition is the thing, that can describe our anti-hero of sorts, Terrence Fletcher a.k.a the brilliant J.K. Simmons, who has a thing for mindeffin' his students to the point of total physical and mental exhaustion and even depression.But he does it for a reason, for the sole purpose of finding the next big, even great, thing in jazz and in music as a whole.The next prodigy, the next "Yardbird" Charlie Parker that will be otherwise lost, if not being pushed to the very limit.
And boy, does J.K. Simmons nails it.Chazelle has done a masterful job in casting the two leads in Teller and Simmons.Their respective acts are full of purpose, full of tension and ultimately terrific.
Expect some awards going in the way of "Whiplash" and look out for Simmons in the Oscars shortlist, that's how good he is in it.And in his own words: "What a shame we wrapped it up in only 19 days".It must have been really fun playing a part like Terrence Fletcher and Simmons completely sold it.
As I said, the best movies are those, that reach out to the most diverse and wide spectrum of audiences, not those, who can connect to a massive number of people, who are representatives of only one specific audience type.And Chazelle has achieved just that with "Whiplash" - a precise, tension-building film, full of beautifully staged pieces and above all else, a love towards music and the challenges it often represents if you want to get to the very top.
The film ended in a big round of applause from the packed theater and I am sure that will be the case a long time from now!
My grade: 9/10
I believe that among the most telling facts about a film's fortunes and qualities, is the ability to broaden it's public, but in the same time not forgetting that cinema is not all about commercial success and mass audiences.Or with other words - a film that is not just eye candy and booms and explosions, but also craft, soul, dedication and wits.
Those are some of the things not only the film itself possesses, but the people behind it have in abundance as well.
The upcoming Miles Teller plays the young and dedicated student Andrew Nieman, who has the drive, the ambition to succeed and to be great, which is fine, as long as it doesn't derail your personal life.A lesson the young drummer learns the hard way.
Blind ambition is the thing, that can describe our anti-hero of sorts, Terrence Fletcher a.k.a the brilliant J.K. Simmons, who has a thing for mindeffin' his students to the point of total physical and mental exhaustion and even depression.But he does it for a reason, for the sole purpose of finding the next big, even great, thing in jazz and in music as a whole.The next prodigy, the next "Yardbird" Charlie Parker that will be otherwise lost, if not being pushed to the very limit.
And boy, does J.K. Simmons nails it.Chazelle has done a masterful job in casting the two leads in Teller and Simmons.Their respective acts are full of purpose, full of tension and ultimately terrific.
Expect some awards going in the way of "Whiplash" and look out for Simmons in the Oscars shortlist, that's how good he is in it.And in his own words: "What a shame we wrapped it up in only 19 days".It must have been really fun playing a part like Terrence Fletcher and Simmons completely sold it.
As I said, the best movies are those, that reach out to the most diverse and wide spectrum of audiences, not those, who can connect to a massive number of people, who are representatives of only one specific audience type.And Chazelle has achieved just that with "Whiplash" - a precise, tension-building film, full of beautifully staged pieces and above all else, a love towards music and the challenges it often represents if you want to get to the very top.
The film ended in a big round of applause from the packed theater and I am sure that will be the case a long time from now!
My grade: 9/10
A strive for perfection.
Sleepin_Dragon6 January 2023
Music teacher Terrence Fletcher spots something in raw, but talented young drummer Andy Niemann, desperate to get to the top, Andy makes several sacrifices, to strive for greatness.
I can't always give one hundred percent attention to a film, sometimes my mind can wander, here though, I was glued for the full run time. This film is absolutely phenomenal, a relatively low budget movie, but one with an incredible story and some phenomenal acting.
How can a film be equal parts subtle and brash, I can't explain why or how, but this film has an incredibly rich content, there is so much going on beneath the surface.
The characters, incredibly rich, rounded and thoroughly believable, I must start by commenting on Fletcher, he's fascinating, irascible, angry, but deep, smart, demanding and passionate. JK Simmons won an Oscar for this performance, and deservedly so, he is breathtaking here, it is acting to savour.
The film is as much about Fletcher, as it is about Niemann, a total contrast, where Fletcher is hard, brash and tough, Niemann is a little naive, meak, cute, but loaded with talent, it's Fletcher's outrageous demand for perfection from him that's the key.
Damien Chazelle nailed it here, the script is pretty near perfect, Oscar nominated, it should have won it.
I am blown away by this incredible film, 10/10.
I can't always give one hundred percent attention to a film, sometimes my mind can wander, here though, I was glued for the full run time. This film is absolutely phenomenal, a relatively low budget movie, but one with an incredible story and some phenomenal acting.
How can a film be equal parts subtle and brash, I can't explain why or how, but this film has an incredibly rich content, there is so much going on beneath the surface.
The characters, incredibly rich, rounded and thoroughly believable, I must start by commenting on Fletcher, he's fascinating, irascible, angry, but deep, smart, demanding and passionate. JK Simmons won an Oscar for this performance, and deservedly so, he is breathtaking here, it is acting to savour.
The film is as much about Fletcher, as it is about Niemann, a total contrast, where Fletcher is hard, brash and tough, Niemann is a little naive, meak, cute, but loaded with talent, it's Fletcher's outrageous demand for perfection from him that's the key.
Damien Chazelle nailed it here, the script is pretty near perfect, Oscar nominated, it should have won it.
I am blown away by this incredible film, 10/10.
Astonishing performance
xiaohei-801123 November 2019
This is a very unique movie even u are not into jazz but still can drew u into the atmosphere of it without moving your eyes.My eyes were dry after seeing this movie.Miles and Jk portray it flawless .Jk remind me of ex employer will use your weakness background against you if anything go wrong.Director done very well using camera angle to capture the face of the actor to create the tension in it.Have to admit I hate Fletcher brutal teaching, but most of the music icons were pushing to their limit practice to perfectly everyday,so he is not entirely wrong also.just my fantasy,it will be great if this movie can use 120fps technology to capture the facial expressions of two lead actors.
A pair of outstanding performances by Miles Teller and J.K. Simmons embody Damien Chazelle's piece of perfection...
ClaytonDavis27 September 2014
When it comes to cinema, there are often little gems in a sea of bigger spectacles, that can break through in the most proficient way. Last year, I pleaded to the entire film universe that discover and understand "Inside Llewyn Davis" from the Coen Brothers after seeing it for the first time at NYFF. This year, I've seem to already come to terms that the next film that will utilize all my energy and resources this year will be Damien Chazelle's highly intense psychological drama "Whiplash." An impeccable and tightly wound experience that brings your anxiety to a feverish level. As small, and utterly different as I'm about to compare, I haven't felt this uneasy with a film's tension since Paul Greengrass' "Captain Phillips," coincidentally also was a NYFF title. Two other similar traits that embody the two are the intense and completely submersible performances that inhabit them. Stars Miles Teller and J.K. Simmons are absolutely astonishing, featuring two of the year's very best turns.
Chazelle's film tells the story of Andrew (Teller), a first year music student that seeks out and joins the prestigious school band, headed by an intense and frightening teacher Mr. Fletcher (Simmons).
Walking out of the screening I fully knew (though I fully hope to be proved wrong this year) that Miles Teller would be my "Oscar Isaac" this year. A performance that should shoot to the top of any awards consideration for a lead actor, but unfortunately will be passed over show after show. Teller is submerged in a way that we haven't seen the young actor achieve at this stage in his career. After plowing onto the scene opposite Nicole Kidman in "Rabbit Hole," and then helming "The Spectacular Now" with complete ease and intensity, I was not expecting him to be the machine of fury and magnitude that is on display in "Whiplash." There are moments where he channels the emotional aura of performances like Tom Hulce/F. Murray Abraham in "Amadeus," as crazy as that sounds. I am so excited to see where Teller goes from here. It makes the future of film a lot more bright, knowing that someone like him will be rising up in the ranks.
Everything you've heard about J.K. Simmons is true and then some. A fully fleshed out supporting role, Chazelle doesn't write Fletcher as a caricature. He's a deeply acute individual, full of passion and acrimony. Chazelle doesn't keep Simmons at a "10," he and Simmons allow him to find a range of empathy, hatred, and cryptic allowances that will keep you at the edge of your seat. As I watched Simmons flesh out a performance that can only be described as magnificent, I kept coming back in my mind to Christoph Waltz in the Oscar-winning "Inglourious Basterds," a role that found much heat on the awards circuit. The world/all film lovers will not be able ignore the stunning presence of Simmons. A Supporting Actor nominations (maybe even a win) seems all but assured (and deserved). Looking back at the veteran actor's career that included memorable roles in "Juno," "Burn After Reading," and "Up in the Air," a role like this could not have come at a better time. Already impressive in his brief work in Jason Reitman's "Men, Women & Children," writers, directors, casting agents, and producers will be pounding on the actor's door.
You can't credit "Whiplash" without citing the words and control by writer/director Damien Chazelle. An amazing and outstanding sophomore effort (unfortunately have not seen his debut "Guy and Madeline on a Park Bench") that channels a young Bennett Miller. Vigorous, self-assured, and innovative, Chazelle is a brilliant auteur filmmaker that knows exactly what type of films he wants to make. He takes inspiration from his own life, his love of film and music, and other places I'm sure we don't know about, and molds them into a gritty, layered experience, conditioned with rich characters, all realized through the writer's story. It's one of the best scripts of the year.
"Whiplash" features some of the best minutes of film seen in 2014. An ending that will bring tears to your eyes, dual performances that will have you applaud, and an experience that you surely will not forget. Drumming has never felt like such a personality. It acts as a visible tool for the viewer to understand and try. If you love music, appreciate education, and dare to be better than your current state, you will find something very real to latch onto. Hold on, and hold on tight.
"Whiplash" is being distributed by Sony Pictures Classics and will be released October 10 in limited release (and then expanding after). A must-see for all movie lovers!
Chazelle's film tells the story of Andrew (Teller), a first year music student that seeks out and joins the prestigious school band, headed by an intense and frightening teacher Mr. Fletcher (Simmons).
Walking out of the screening I fully knew (though I fully hope to be proved wrong this year) that Miles Teller would be my "Oscar Isaac" this year. A performance that should shoot to the top of any awards consideration for a lead actor, but unfortunately will be passed over show after show. Teller is submerged in a way that we haven't seen the young actor achieve at this stage in his career. After plowing onto the scene opposite Nicole Kidman in "Rabbit Hole," and then helming "The Spectacular Now" with complete ease and intensity, I was not expecting him to be the machine of fury and magnitude that is on display in "Whiplash." There are moments where he channels the emotional aura of performances like Tom Hulce/F. Murray Abraham in "Amadeus," as crazy as that sounds. I am so excited to see where Teller goes from here. It makes the future of film a lot more bright, knowing that someone like him will be rising up in the ranks.
Everything you've heard about J.K. Simmons is true and then some. A fully fleshed out supporting role, Chazelle doesn't write Fletcher as a caricature. He's a deeply acute individual, full of passion and acrimony. Chazelle doesn't keep Simmons at a "10," he and Simmons allow him to find a range of empathy, hatred, and cryptic allowances that will keep you at the edge of your seat. As I watched Simmons flesh out a performance that can only be described as magnificent, I kept coming back in my mind to Christoph Waltz in the Oscar-winning "Inglourious Basterds," a role that found much heat on the awards circuit. The world/all film lovers will not be able ignore the stunning presence of Simmons. A Supporting Actor nominations (maybe even a win) seems all but assured (and deserved). Looking back at the veteran actor's career that included memorable roles in "Juno," "Burn After Reading," and "Up in the Air," a role like this could not have come at a better time. Already impressive in his brief work in Jason Reitman's "Men, Women & Children," writers, directors, casting agents, and producers will be pounding on the actor's door.
You can't credit "Whiplash" without citing the words and control by writer/director Damien Chazelle. An amazing and outstanding sophomore effort (unfortunately have not seen his debut "Guy and Madeline on a Park Bench") that channels a young Bennett Miller. Vigorous, self-assured, and innovative, Chazelle is a brilliant auteur filmmaker that knows exactly what type of films he wants to make. He takes inspiration from his own life, his love of film and music, and other places I'm sure we don't know about, and molds them into a gritty, layered experience, conditioned with rich characters, all realized through the writer's story. It's one of the best scripts of the year.
"Whiplash" features some of the best minutes of film seen in 2014. An ending that will bring tears to your eyes, dual performances that will have you applaud, and an experience that you surely will not forget. Drumming has never felt like such a personality. It acts as a visible tool for the viewer to understand and try. If you love music, appreciate education, and dare to be better than your current state, you will find something very real to latch onto. Hold on, and hold on tight.
"Whiplash" is being distributed by Sony Pictures Classics and will be released October 10 in limited release (and then expanding after). A must-see for all movie lovers!
Blistering
TheLittleSongbird16 February 2017
Nominated for five Oscars, and winning three (editing, sound and Best Supporting Actor, with nominations for screenplay and Best picture), 'Whiplash' is positively blistering, with a darker and more realistic view on aspirations and done in a way that's tense and inspirational.
Visually, 'Whiplash' looks great with grittily atmospheric photography with plenty of beautiful, gripping shots (like close-ups of the drum playing) and some of the tightest, cleverest and most audacious editing of any film that year. The sound is also thrilling in its intense authenticity, and really add to the impact of the pulse-racing Jazz soundtrack. There is in particular unbelievable drum playing that serves as a fond reminder of iconic drum players of the classic Jazz Age, the final drum solo is long but exhilaratingly played and a huge part of why the ending sends up a storm as much as it does.
The script is sharp and cutting, sometimes uncompromising and at other points patient. The story is not new, but makes a point of aspirations and talent having its dark and less glamorous side, competitiveness and that there are always obstacles (including dictatorial bullies). While not quite as extreme in life as shown here situations and people like seen in the film exist. The story is at its most successful in its tension between Andrew and Fletcher, which is thrilling and nail-biting, and Andrew's very relatable and inspiring drive and passion, and much of it is very taut and rarely laborious in pace.
Damian Chazelle directs with a clear love for film and the jazz style and passion for the subject. 'Whiplash' has great performances all round. The secondary cast do much with little and Miles Teller more than holds his own in a telling lead performance. This is JK Simmons' film however, proving that his Oscar win was one of that year's most deserved wins. He doesn't just dominate the film with his ruthless manner as a terrifyingly dictatorial character, but actually IS essentially the film, one's terrified of him but also understands his point of view.
'Whiplash' could have been slightly better this said. Most of the supporting cast, especially Andrew's family (the film at least tries to say why the romance was rushed and dropped, in that it didn't mean anything to him like his playing of music did), are severely underwritten and underused. The car crash scene and the aftermath also feels out-of-kilter and even the most committed musician wouldn't be in the right function to do what happens after that scene.
Otherwise, this is a blisteringly great film with a huge amount to recommend. 9/10 Bethany Cox
Visually, 'Whiplash' looks great with grittily atmospheric photography with plenty of beautiful, gripping shots (like close-ups of the drum playing) and some of the tightest, cleverest and most audacious editing of any film that year. The sound is also thrilling in its intense authenticity, and really add to the impact of the pulse-racing Jazz soundtrack. There is in particular unbelievable drum playing that serves as a fond reminder of iconic drum players of the classic Jazz Age, the final drum solo is long but exhilaratingly played and a huge part of why the ending sends up a storm as much as it does.
The script is sharp and cutting, sometimes uncompromising and at other points patient. The story is not new, but makes a point of aspirations and talent having its dark and less glamorous side, competitiveness and that there are always obstacles (including dictatorial bullies). While not quite as extreme in life as shown here situations and people like seen in the film exist. The story is at its most successful in its tension between Andrew and Fletcher, which is thrilling and nail-biting, and Andrew's very relatable and inspiring drive and passion, and much of it is very taut and rarely laborious in pace.
Damian Chazelle directs with a clear love for film and the jazz style and passion for the subject. 'Whiplash' has great performances all round. The secondary cast do much with little and Miles Teller more than holds his own in a telling lead performance. This is JK Simmons' film however, proving that his Oscar win was one of that year's most deserved wins. He doesn't just dominate the film with his ruthless manner as a terrifyingly dictatorial character, but actually IS essentially the film, one's terrified of him but also understands his point of view.
'Whiplash' could have been slightly better this said. Most of the supporting cast, especially Andrew's family (the film at least tries to say why the romance was rushed and dropped, in that it didn't mean anything to him like his playing of music did), are severely underwritten and underused. The car crash scene and the aftermath also feels out-of-kilter and even the most committed musician wouldn't be in the right function to do what happens after that scene.
Otherwise, this is a blisteringly great film with a huge amount to recommend. 9/10 Bethany Cox
Wow just wow. Easily one of the greatest films of the year
WalterSoprano6 January 2015
There is so many excellent great things to say about this film. To start off I will say it may be slow and to different for some to enjoy and so that I warn you. Now I will say that I can not express the idea enough of how surprising this film is. Jk Simmons does an outstanding performance as the highly unpredictable hair trigger tempered teacher Fletcher, Miles Teller an actor who I've only seen in mediocre comedies also shines in a breakthrough performance as the ambitious drummer Andrew. The performance are outstanding and that's just the tip of the iceberg.
My favorite thing about this film is how it has created it's own one of a kind spot in the music genre of film, it's atmosphere is unlike any other as well. The idea that this film is one of a kind can't be stressed enough, I guarantee you cannot find another film out there like this. This film expresses a shockingly high intensity for a music film. I believe that Jk Simmons acting is what fueled a lot of the intensity. When you watch this film even though it's pace will seem slow to most it's intensity is impossible to miss.
I can see how a lot of certain people may find this film hard to enjoy but for me this film as slow as it is couldn't have been more intense. The mere fact that a music film shows some strong intensity like this one did is mind blowing to me. I don't know how many of you had this same experience or something similar then you already know what I'm talking about. I have a good feeling and I'm hopeful this film rakes in some acting Oscars because this film deserves at least one. I haven't read anything on this films page and I'm sure others have expressed similar opinions and all I can say is listen and trust me. I'm praying you enjoy this film and experience it's one of a kind intensity just as I did. Thanks for reading my review and enjoy.
My favorite thing about this film is how it has created it's own one of a kind spot in the music genre of film, it's atmosphere is unlike any other as well. The idea that this film is one of a kind can't be stressed enough, I guarantee you cannot find another film out there like this. This film expresses a shockingly high intensity for a music film. I believe that Jk Simmons acting is what fueled a lot of the intensity. When you watch this film even though it's pace will seem slow to most it's intensity is impossible to miss.
I can see how a lot of certain people may find this film hard to enjoy but for me this film as slow as it is couldn't have been more intense. The mere fact that a music film shows some strong intensity like this one did is mind blowing to me. I don't know how many of you had this same experience or something similar then you already know what I'm talking about. I have a good feeling and I'm hopeful this film rakes in some acting Oscars because this film deserves at least one. I haven't read anything on this films page and I'm sure others have expressed similar opinions and all I can say is listen and trust me. I'm praying you enjoy this film and experience it's one of a kind intensity just as I did. Thanks for reading my review and enjoy.
An incredibly powerful film!
Gbert25428 January 2014
http://switchingreels.com/2014/01/28/sundance-review-whiplash/
Ever had a dream of being a great football player? A great dancer? A great singer? A great musician? Our protagonist has a dream of being a great drummer, a drummer that will be remembered forever. Maybe you are still fighting for your dream. Maybe you have given up on greatness. Greatness doesn't come easily, you need to practice at it. Andrew practices until his hands bleed.
Andrew (Miles Teller) is 19-year old student at a music conservatory in Manhattan. Terrence Fletcher (J.K. Simmons) is a teacher at the conservatory with a ruthlessly brutal teaching style. After picking Andrew to play in the school band, he pushes Andrew to his limits in order to realize his full potential, at the risk of his humanity.
I had a billiards teacher at one point in my life, who was close to becoming a pro in his craft but a grease fire accident changed all that. His perspective changed, to paraphrase, he realized he was becoming an asshole. He became a teacher of pool instead of becoming a pro player. Through him, I can understand what Terrence Fletcher was trying to instill into Andrew. My teacher would push me a little bit. When he gave me opportunities to show him up, "run the table now," he would tell me, I failed. It's embarrassing when that happens but it's also a learning tool because more work needs to be done. You can't get by on talent alone but it certainly helps. On the other side of it, I saw a little bit of my teacher in Andrew. Losing who you are to perfect something you love. Good thing my teacher realized before it was too late.
I lost myself in the story. It had something to say about not settling and asking more of yourself. Two fantastic performances from Miles Teller and J.K. Simmons. Perhaps it will push you to maybe pick up that guitar again, put on your ballet shoes, or hit the gym to bulk up. Whiplash is an incredibly powerful film. And after the final shot cuts to black, the film will stick with you for days.
My expectations: Medium. I did not expect the film to be so powerful for me. Expectations exceeded.
Recommendation: Cinema lovers and casual movie goers, I believe will enjoy this film.
Re-watch value: I can watch this film again and I actually can't wait until it hits distribution.
Memorable: I am still thinking about this film.
Ever had a dream of being a great football player? A great dancer? A great singer? A great musician? Our protagonist has a dream of being a great drummer, a drummer that will be remembered forever. Maybe you are still fighting for your dream. Maybe you have given up on greatness. Greatness doesn't come easily, you need to practice at it. Andrew practices until his hands bleed.
Andrew (Miles Teller) is 19-year old student at a music conservatory in Manhattan. Terrence Fletcher (J.K. Simmons) is a teacher at the conservatory with a ruthlessly brutal teaching style. After picking Andrew to play in the school band, he pushes Andrew to his limits in order to realize his full potential, at the risk of his humanity.
I had a billiards teacher at one point in my life, who was close to becoming a pro in his craft but a grease fire accident changed all that. His perspective changed, to paraphrase, he realized he was becoming an asshole. He became a teacher of pool instead of becoming a pro player. Through him, I can understand what Terrence Fletcher was trying to instill into Andrew. My teacher would push me a little bit. When he gave me opportunities to show him up, "run the table now," he would tell me, I failed. It's embarrassing when that happens but it's also a learning tool because more work needs to be done. You can't get by on talent alone but it certainly helps. On the other side of it, I saw a little bit of my teacher in Andrew. Losing who you are to perfect something you love. Good thing my teacher realized before it was too late.
I lost myself in the story. It had something to say about not settling and asking more of yourself. Two fantastic performances from Miles Teller and J.K. Simmons. Perhaps it will push you to maybe pick up that guitar again, put on your ballet shoes, or hit the gym to bulk up. Whiplash is an incredibly powerful film. And after the final shot cuts to black, the film will stick with you for days.
My expectations: Medium. I did not expect the film to be so powerful for me. Expectations exceeded.
Recommendation: Cinema lovers and casual movie goers, I believe will enjoy this film.
Re-watch value: I can watch this film again and I actually can't wait until it hits distribution.
Memorable: I am still thinking about this film.
terrific performances
SnoopyStyle5 March 2015
Andrew Neimann (Miles Teller) is a first year student at the prestigious Shaffer Conservatory. His father Jim (Paul Reiser) is a sweet high school teacher. He gets picked by Terence Fletcher (J.K. Simmons) to be the backup drummer in his winning Studio band. He gets enough confidence to ask out Nicole (Melissa Benoist). Fletcher is a cruel manipulative dictatorial teacher.
J.K. Simmons gets a great juicy part to show his skills that he has shown all these years. He fully deserves his Oscar win and it's not a surprise. He's certainly done great work in many TV and movie roles before over the years. Miles Teller take a great step up. He has done good work but this is something much more. It's a compelling character who develops and changes. He's able to play through it all.
J.K. Simmons gets a great juicy part to show his skills that he has shown all these years. He fully deserves his Oscar win and it's not a surprise. He's certainly done great work in many TV and movie roles before over the years. Miles Teller take a great step up. He has done good work but this is something much more. It's a compelling character who develops and changes. He's able to play through it all.
A Psychological Horror Story
proud_luddite16 February 2019
In New York, a young jazz drummer (Miles Teller) is enrolled in a prestigious music school. His ambitions are tested and manipulated by a sadistic, perfectionist music instructor (J.K. Simmons).
There are occasional moments in the film that seem far-fetched and over-the-top. But these are forgiven due to the edgy execution by director-writer Damien Chazelle and the acting.
Teller is very believable as someone whose obsession to succeed overrides his sense of safety. This is partly explained in a useful scene at the beginning of an extended family gathering where one-upmanship seemed to be the traditional form of communicating.
However, the movie belongs to Simmons who is the epitome of the authority-from-hell. He has rightly won many awards for this performance and he is likely to win more. He is so frightening when he is dominating the students that, even in the audience, there is a sigh of relief felt when he is acting more at-ease and human. His presence is that strong.
"Whiplash" ably presents the question of whether attaining genius is worth the price - at least in certain circumstances. It also succeeds as a psychological horror movie. The Simmons character is likely to be mentioned in the future as one of the movies' most memorable villains. - dbamateurcritic
There are occasional moments in the film that seem far-fetched and over-the-top. But these are forgiven due to the edgy execution by director-writer Damien Chazelle and the acting.
Teller is very believable as someone whose obsession to succeed overrides his sense of safety. This is partly explained in a useful scene at the beginning of an extended family gathering where one-upmanship seemed to be the traditional form of communicating.
However, the movie belongs to Simmons who is the epitome of the authority-from-hell. He has rightly won many awards for this performance and he is likely to win more. He is so frightening when he is dominating the students that, even in the audience, there is a sigh of relief felt when he is acting more at-ease and human. His presence is that strong.
"Whiplash" ably presents the question of whether attaining genius is worth the price - at least in certain circumstances. It also succeeds as a psychological horror movie. The Simmons character is likely to be mentioned in the future as one of the movies' most memorable villains. - dbamateurcritic
Intense movie, phenomenal J.K. Simmons but unrealistic
vithiet10 February 2019
This movie should please a wide audience of non-musicians. I am not a musician but I've seen movies based on things I know very well and it's always exaggerated and unrealistic and it usually bugs me more than other people; I can easily imagine how real musicians may dislike this one.
The directing and acting are great (although J.K. Simmons steals the whole show) as are cinematography and sound. However the whole premise is wildly unrealistic, and the moral of the story "to be great you need to be pushed beyond your limits" is a tired trope that has often been done in a better way than here.
On a personal note, I hate bullies with a passion and there can never be a "but it's for a good reason" excuse for bullying.
The Conflict is Better than any Superhero Movie
jordyntsmith1 June 2022
The story of a jazz drummer who is pushed to the brink by sadistic music conductor.
As a drummer myself, I found the depiction of the art, the the elements of 'the band room' very accurate - with the exception of the crazy conductor (mine was quite nice by contrast). What makes this film so excellent is the character driven storytelling. I watched this the same weekend as Doctor Strange in the Multiverse of Madness ("MOM"), and I was far more captivated by the conflict between the characters of Whiplash than I was of MOM.
Whiplash featured incredible twists and turns, that kept me glued to the screen. This is an underrated gem that deserves more praise.
As a drummer myself, I found the depiction of the art, the the elements of 'the band room' very accurate - with the exception of the crazy conductor (mine was quite nice by contrast). What makes this film so excellent is the character driven storytelling. I watched this the same weekend as Doctor Strange in the Multiverse of Madness ("MOM"), and I was far more captivated by the conflict between the characters of Whiplash than I was of MOM.
Whiplash featured incredible twists and turns, that kept me glued to the screen. This is an underrated gem that deserves more praise.
A Portrait of the Artist as a Crazy Young Man
evanston_dad23 March 2015
I work with a guy who studied music in school and had friends who went the music conservatory route, and according to him "Whiplash" is authentic. To which I say...Oh my God! Because this film is a nightmare.
Miles Teller gives an under-appreciated performance as a drummer following his passion who is lucky enough (if lucky is the right word) to be chosen by a psycho jazz teacher (J.K. Simmons) to join his class. What follows is a battle of wills, as Simmons tries to grind his students to stumps of their former selves while Teller proves that he won't be so easily dominated.
"Whiplash" goes in a very dark direction and completely defies expectations, which is what I liked most about it. I was expecting a kind of "Devil Wears Prada" set in a music school, where the eager pupil first wants to give up, then rises to the challenge, earns the respect of a tough teacher but ultimately decides his worth doesn't depend on proving himself to anybody. But that is most decidedly NOT the direction this film goes, instead turning into a contest to see how much crazier and more obsessed one maestro can be over another.
Simmons shouts and blusters his way through a one-note role. He's good in context of what he's asked to do, but it's the kind of showy performance that wins Oscars, not a subtle and complex characterization. Teller is the heart and soul of the film, and he's tremendous. The film is like watching a car accident in slow motion and being unable to do anything to prevent it, and just as unable to look away.
Winner of three Academy Awards (Supporting Actor for Simmons, Film Editing and Sound Mixing) and nominated for two others, including Best Picture and Best Adapted Screenplay.
Grade: A
Miles Teller gives an under-appreciated performance as a drummer following his passion who is lucky enough (if lucky is the right word) to be chosen by a psycho jazz teacher (J.K. Simmons) to join his class. What follows is a battle of wills, as Simmons tries to grind his students to stumps of their former selves while Teller proves that he won't be so easily dominated.
"Whiplash" goes in a very dark direction and completely defies expectations, which is what I liked most about it. I was expecting a kind of "Devil Wears Prada" set in a music school, where the eager pupil first wants to give up, then rises to the challenge, earns the respect of a tough teacher but ultimately decides his worth doesn't depend on proving himself to anybody. But that is most decidedly NOT the direction this film goes, instead turning into a contest to see how much crazier and more obsessed one maestro can be over another.
Simmons shouts and blusters his way through a one-note role. He's good in context of what he's asked to do, but it's the kind of showy performance that wins Oscars, not a subtle and complex characterization. Teller is the heart and soul of the film, and he's tremendous. The film is like watching a car accident in slow motion and being unable to do anything to prevent it, and just as unable to look away.
Winner of three Academy Awards (Supporting Actor for Simmons, Film Editing and Sound Mixing) and nominated for two others, including Best Picture and Best Adapted Screenplay.
Grade: A
Great music, but the plot angers me
Gordon-1113 January 2015
This film tells the story of a young drummer who us accepted into the most prestigious music school in New York. The teacher there is very strict, even abusive physically and psychologically. The story then tells how the enmeshed relationship between the two evolve.
The music in "Whiplash" is great. It's like going to a jazz concert, especially the finale performance at the end. For the plot itself, however, I did not like it at all. The teacher is very abusive, and dies everything he could to stir up rivalry and hatred among his students. The worst thing is that the film gives him time to justify his abuse. Abuse is not right, and the film allows abusers to give twisted reasons to justify something wrong. That really angers me. Coupled with the fact that his students keep on receiving the abuse, it evoked a lot of anger in me.
The music in "Whiplash" is great. It's like going to a jazz concert, especially the finale performance at the end. For the plot itself, however, I did not like it at all. The teacher is very abusive, and dies everything he could to stir up rivalry and hatred among his students. The worst thing is that the film gives him time to justify his abuse. Abuse is not right, and the film allows abusers to give twisted reasons to justify something wrong. That really angers me. Coupled with the fact that his students keep on receiving the abuse, it evoked a lot of anger in me.
Only neat music and cinematography make this tawdry, melodramatic tale of sadomasochistic relationship between jazz conservatory student and teacher, worth watching
Turfseer6 November 2014
Warning: Spoilers
In the 70s, a new genre of films aimed at black audiences emerged entitled, 'Blaxploitation'. The genre primarily glorified stereotypical "criminal" behavior in black neighborhoods. Now with Damien Chazelle's, 'Whiplash', he's invented a new genre primarily for a large coterie of Caucasian males: 'Jazzploitation', set in an elite jazz program at a Julliard-like school of higher musical instruction. Both white liberal film critics and martial arts enthusiasts alike, will enjoy this exercise in sado-masochistic shenanigans as evidenced by the plethora of rave reviews now gracing a multitude of web pages over the internet.
Don't ask any of our critics who rave about the film to require Mr. Chazelle to provide even a modicum of verisimilitude. I'm talking, of course, about how Mr. Chazelle's antagonist, the martinet music instructor, Terence Fletcher, would even last five minutes at a prestigious music conservatory, given his vast repertoire of sociopathic behavior. Oh but wait—'Whiplash' really is supposed to be more like a fable, so Mr. Chazelle is given a pass—he no longer has to be beholden to 'conventional' narratives.
But even fables should operate within a somewhat realistic world. And is it realistic to have Fletcher's co-worker shrink from him (are they all so afraid that they dare not assert themselves one bit?) Is it realistic not to see Fletcher's interactions with his supervisors (are they also completely browbeaten by him?) Would the administration allow such a person to continually humiliate his students, hurl ethnic and gay slurs, and actually throw things at the students, which could result in personal injury (possibly subjecting the school to a lawsuit?). Fletcher is clearly a caricature, who belongs in an army setting and not a music conservatory. Nonetheless, Chazelle needs the character to not only titillate us along the way but to illustrate his simplistic morality play, which entails a warning about the dangers of obsessive careerism.
Now of course various naysayers will argue that there ARE people like Fletcher who seek to bring out the best in their students by utilizing 'tough love' but such pedagogues in real life must work within the 'system' and the 'pushing' is much more subtle than what is depicted here.
The same goes for Chazelle's protagonist, Andrew Neyman, who plays the obsessed drummer student who seeks to get in the good graces of the ruthless Fletcher. Neyman is played by Miles Teller whom I liked very much in 'The Spectacular Now'. Since he plays drums in real life, Teller is pretty convincing playing the drums in the film.
But Chazelle applies the same 'sledge hammer' approach toward the character 'Neyman' as he does with 'Fletcher'. Neyman wants to 'make it' at 'any cost'. He plays the drums so hard until his hands start bleeding (various drummers posting on the internet deny they've seen cases of this); and then on his way to a competition, Neyman gets in a bad car accident, but STILL drags himself to the performance and attempts to play (Chazelle seeks to prove the inane point that Neyman is so obsessed, that he'll do anything to win—even if it means playing seriously injured and jeopardizing his own life). No really, can you see anyone doing this? But again, since this is more like a melodramatic fable, Chazelle can have his characters do the most ridiculous things, and seemingly get away with it!
Two thirds of the Whiplash plot concerns Fletcher's quest to supposedly bring out the best in his students (none of whom do we really get to know except Neyman). John Bleasdale writing in CineVue finds Fletcher's diatribes appealing: "His razor wit, sheer outrageousness, inventive taunting and vulgar insults are at once appalling and blackly funny." I agree that Fletcher's insults are appalling but "blackly funny"? Keep in mind that all the other characters who come in contact with Fletcher, have no ego, to the point that no one will oppose him. Therefore, Fletcher can get away with saying anything he feels like (some may call this 'wit', but in reality they're simply one note monologues--a set of variations on a theme).
The second act crisis manifests itself when Neyman is kicked out of school after physically attacking Fletcher. The way back toward some kind of 'equilibrium' is when Neyman agrees to give a deposition in a lawsuit that eventually leads to Fletcher's dismissal from the conservatory.
The Whiplash climax occurs after Neyman and Fletcher meet at a jazz club where Fletcher is now playing and Neyman agrees to play at a showcase. This turns out to be an ambush, since Fletcher arranges for Neyman to get up there without sheet music and he can only end up improvising (Fletcher is so demented that he's seemingly willing to sabotage the entire performance to get back at Neyman who he knows testified against him). Neyman runs off backstage into the arms of his good guy father but suddenly summons the courage to come back and play, where he dazzles, performing an extraordinary drum solo. Has Neyman triumphed after enduring the humiliating set-up? Not at all! He merely plays into Fletcher's stratagem to push him beyond his limits emotionally—even if it means that he must sacrifice his dignity and self-worth by allowing the mad sociopath to manipulate him over and over again.
In order to accept Chazelle's tawdry tale, one must accept the conventions of melodrama. Clearly it's written as heightened reality to make a point about the sadomasochistic relationship between student and teacher. While Chazelle may ultimately view his characters at a distance with the correct moral upper hand, he mirrors Tarantino, by reveling in the violence that he is also attempting to disdain. The 'Whiplash' machinations end up more tawdry and sensationalistic than compellingly tragic.
I would recommend 'Whiplash' for the excellent cinematography and of course all the neat jazz music. I'll pass on the story—due to its clear, unrealistic and melodramatic aftertaste.
Don't ask any of our critics who rave about the film to require Mr. Chazelle to provide even a modicum of verisimilitude. I'm talking, of course, about how Mr. Chazelle's antagonist, the martinet music instructor, Terence Fletcher, would even last five minutes at a prestigious music conservatory, given his vast repertoire of sociopathic behavior. Oh but wait—'Whiplash' really is supposed to be more like a fable, so Mr. Chazelle is given a pass—he no longer has to be beholden to 'conventional' narratives.
But even fables should operate within a somewhat realistic world. And is it realistic to have Fletcher's co-worker shrink from him (are they all so afraid that they dare not assert themselves one bit?) Is it realistic not to see Fletcher's interactions with his supervisors (are they also completely browbeaten by him?) Would the administration allow such a person to continually humiliate his students, hurl ethnic and gay slurs, and actually throw things at the students, which could result in personal injury (possibly subjecting the school to a lawsuit?). Fletcher is clearly a caricature, who belongs in an army setting and not a music conservatory. Nonetheless, Chazelle needs the character to not only titillate us along the way but to illustrate his simplistic morality play, which entails a warning about the dangers of obsessive careerism.
Now of course various naysayers will argue that there ARE people like Fletcher who seek to bring out the best in their students by utilizing 'tough love' but such pedagogues in real life must work within the 'system' and the 'pushing' is much more subtle than what is depicted here.
The same goes for Chazelle's protagonist, Andrew Neyman, who plays the obsessed drummer student who seeks to get in the good graces of the ruthless Fletcher. Neyman is played by Miles Teller whom I liked very much in 'The Spectacular Now'. Since he plays drums in real life, Teller is pretty convincing playing the drums in the film.
But Chazelle applies the same 'sledge hammer' approach toward the character 'Neyman' as he does with 'Fletcher'. Neyman wants to 'make it' at 'any cost'. He plays the drums so hard until his hands start bleeding (various drummers posting on the internet deny they've seen cases of this); and then on his way to a competition, Neyman gets in a bad car accident, but STILL drags himself to the performance and attempts to play (Chazelle seeks to prove the inane point that Neyman is so obsessed, that he'll do anything to win—even if it means playing seriously injured and jeopardizing his own life). No really, can you see anyone doing this? But again, since this is more like a melodramatic fable, Chazelle can have his characters do the most ridiculous things, and seemingly get away with it!
Two thirds of the Whiplash plot concerns Fletcher's quest to supposedly bring out the best in his students (none of whom do we really get to know except Neyman). John Bleasdale writing in CineVue finds Fletcher's diatribes appealing: "His razor wit, sheer outrageousness, inventive taunting and vulgar insults are at once appalling and blackly funny." I agree that Fletcher's insults are appalling but "blackly funny"? Keep in mind that all the other characters who come in contact with Fletcher, have no ego, to the point that no one will oppose him. Therefore, Fletcher can get away with saying anything he feels like (some may call this 'wit', but in reality they're simply one note monologues--a set of variations on a theme).
The second act crisis manifests itself when Neyman is kicked out of school after physically attacking Fletcher. The way back toward some kind of 'equilibrium' is when Neyman agrees to give a deposition in a lawsuit that eventually leads to Fletcher's dismissal from the conservatory.
The Whiplash climax occurs after Neyman and Fletcher meet at a jazz club where Fletcher is now playing and Neyman agrees to play at a showcase. This turns out to be an ambush, since Fletcher arranges for Neyman to get up there without sheet music and he can only end up improvising (Fletcher is so demented that he's seemingly willing to sabotage the entire performance to get back at Neyman who he knows testified against him). Neyman runs off backstage into the arms of his good guy father but suddenly summons the courage to come back and play, where he dazzles, performing an extraordinary drum solo. Has Neyman triumphed after enduring the humiliating set-up? Not at all! He merely plays into Fletcher's stratagem to push him beyond his limits emotionally—even if it means that he must sacrifice his dignity and self-worth by allowing the mad sociopath to manipulate him over and over again.
In order to accept Chazelle's tawdry tale, one must accept the conventions of melodrama. Clearly it's written as heightened reality to make a point about the sadomasochistic relationship between student and teacher. While Chazelle may ultimately view his characters at a distance with the correct moral upper hand, he mirrors Tarantino, by reveling in the violence that he is also attempting to disdain. The 'Whiplash' machinations end up more tawdry and sensationalistic than compellingly tragic.
I would recommend 'Whiplash' for the excellent cinematography and of course all the neat jazz music. I'll pass on the story—due to its clear, unrealistic and melodramatic aftertaste.
Intense But The Hype And Awards Possibly Work Against It
Theo Robertson27 March 2015
Do you know who I am ? " asks the film's protagonist as the audience are introduced to him
Yeah you're that Nazi dude who enjoys raping all the new arrivals at the Oswald State penitentiary . Yes JK Simmons is back playing an Oscar winning role which isn't all that different from the role OZ fans know him for . It's nice to see that this years Oscar nominations were heavily in favour of indie cinema . It's even nicer to know that this is the film my fellow members of this site was the pick of the crop from 2014 film releases so sat back hoping to get blown away by it
So is it any good ? Yes but I should quickly qualify this by stating it's not really the masterwork some people might claim it to be . One criticism THE HURT LOCKER received was that you could easily rework the story as someone who has become addicted to adrenaline . Instead of a bomb disposal man you could have the story involve a fireman who takes more and more risks and so it's the same with WHIPLASH . How about a brutal drill instructor trying to turn weak civvies in to efficient killing machines ? That's already been done a hundred times before and so here we've a reworking of a familiar story in a slightly unfamiliar setting of a music school . It's a slightly predictable story and in order for it not to be so predictable there's a few plot turns involving situations that become rather contrived and unlikely to say the least
What stops it all falling apart is director Damien Chazelle using all the tools at his disposal involving editing , sound mix and cinematography to disguise the flaws in the story telling . Certainly many directors nowadays think editing revolves around taking as much cocaine as possible while mutilating any coherent on screen action . The editing style of WHIPLASH is some what showy but is genuinely admirable at the same time . It's nice to actually watch a film and notice the editing while never being irritated by it WHIPLASH is one of the better films of 2014 but it's probably a film that's easier to admire than to like . I did like it but didn't love it and I'm not in a great hurray to watch it again
Yeah you're that Nazi dude who enjoys raping all the new arrivals at the Oswald State penitentiary . Yes JK Simmons is back playing an Oscar winning role which isn't all that different from the role OZ fans know him for . It's nice to see that this years Oscar nominations were heavily in favour of indie cinema . It's even nicer to know that this is the film my fellow members of this site was the pick of the crop from 2014 film releases so sat back hoping to get blown away by it
So is it any good ? Yes but I should quickly qualify this by stating it's not really the masterwork some people might claim it to be . One criticism THE HURT LOCKER received was that you could easily rework the story as someone who has become addicted to adrenaline . Instead of a bomb disposal man you could have the story involve a fireman who takes more and more risks and so it's the same with WHIPLASH . How about a brutal drill instructor trying to turn weak civvies in to efficient killing machines ? That's already been done a hundred times before and so here we've a reworking of a familiar story in a slightly unfamiliar setting of a music school . It's a slightly predictable story and in order for it not to be so predictable there's a few plot turns involving situations that become rather contrived and unlikely to say the least
What stops it all falling apart is director Damien Chazelle using all the tools at his disposal involving editing , sound mix and cinematography to disguise the flaws in the story telling . Certainly many directors nowadays think editing revolves around taking as much cocaine as possible while mutilating any coherent on screen action . The editing style of WHIPLASH is some what showy but is genuinely admirable at the same time . It's nice to actually watch a film and notice the editing while never being irritated by it WHIPLASH is one of the better films of 2014 but it's probably a film that's easier to admire than to like . I did like it but didn't love it and I'm not in a great hurray to watch it again
Beat a path to the cinema to see this
bob-the-movie-man11 January 2015
Whiplash is simply astonishing.
Miles Teller plays Andrew, a gifted and highly ambitious drummer in his first year at an elite New York music academy. There his talents are spotted by Fletcher (J.K. Simmons), an equally ambitious coach and mentor who is always looking for the "next big thing" but has never found it. However, there is a very thin line between being an "ambitious coach" and a terrifying bully, and Fletcher constantly crosses that line sometimes inflicting a terrible impact on his young students.
In an almost uniformly male environment, love interest is served from the cinema concessionary stand by Nicole (the charming Melissa Benoist) who the shy and uncertain Andrew finally plucks up the courage to ask out on a high-point in his emotional roller-coaster. Spot the female, featuring Melissa Benoist The 'school for protégés' theme has perhaps been trodden before by movies like Alan Parker's "Fame", and some of the emotional and creative jostling of elite musicians has appeared in films such as 2012's "A Late Quartet". But none of these deliver the degree of passion and intensity metered out in Damien Chazelle's movie.
Miles Teller ("Divergent") is superbly credible as the aspiring jazz drummer Andrew, and it is almost unbelievable that he was not a professional drummer-turned-actor for this film. In fact, the more accomplished jazz drummer (very different to rock drumming apparently) is Nate Lang who plays Carl, his key competitor for the "percussion 1" role. The two were apparently locked away in a drumming 'boot camp' for 2 months prior to the movie being filmed.
But the starring role in the film goes to J.K. Simmons, probably best known in the supporting role of J. Jonah Jameson, the cranky editor of the Daily Bugle in the Spiderman films (and a number of other Marvel spin-offs). Simmons is quite simply astonishing, channelling the sort of Oscar-winning performance of Louis Gossett Jnr ("An Officer and a Gentleman") into his vicious drill-sergeant-style performance. He has been nominated in the Best Supporting Actor role for both Golden Globe and BAFTA awards, and I would fully expect him to feature in the Oscar shortlist when they are announced on January 15th. Personally speaking, he will be the one I will be cheering for in the awards themselves.
Cinematography by Sharone Meir is outstanding, with every drop of blood, sweat and tears glistening on forehead and cymbal. The editing by Tom Cross is also extremely tight, winding up the tension during key encounters. The combination of the two together with Chazelle's tight script effectively spears the audience in the gut.
The feature is based on Chazelle's short film of the same name, and on this basis he is a name to watch for the future.
Gut-wrenching and enthralling, this film will spit you out the other end feeling emotionally drained. This is simply a film you MUST see. Let me drum it into you again. GO SEE THIS FILM! (If you liked this review please see others at bob-the-movie-man.com and sign up to receive future posts). Thanks.
Miles Teller plays Andrew, a gifted and highly ambitious drummer in his first year at an elite New York music academy. There his talents are spotted by Fletcher (J.K. Simmons), an equally ambitious coach and mentor who is always looking for the "next big thing" but has never found it. However, there is a very thin line between being an "ambitious coach" and a terrifying bully, and Fletcher constantly crosses that line sometimes inflicting a terrible impact on his young students.
In an almost uniformly male environment, love interest is served from the cinema concessionary stand by Nicole (the charming Melissa Benoist) who the shy and uncertain Andrew finally plucks up the courage to ask out on a high-point in his emotional roller-coaster. Spot the female, featuring Melissa Benoist The 'school for protégés' theme has perhaps been trodden before by movies like Alan Parker's "Fame", and some of the emotional and creative jostling of elite musicians has appeared in films such as 2012's "A Late Quartet". But none of these deliver the degree of passion and intensity metered out in Damien Chazelle's movie.
Miles Teller ("Divergent") is superbly credible as the aspiring jazz drummer Andrew, and it is almost unbelievable that he was not a professional drummer-turned-actor for this film. In fact, the more accomplished jazz drummer (very different to rock drumming apparently) is Nate Lang who plays Carl, his key competitor for the "percussion 1" role. The two were apparently locked away in a drumming 'boot camp' for 2 months prior to the movie being filmed.
But the starring role in the film goes to J.K. Simmons, probably best known in the supporting role of J. Jonah Jameson, the cranky editor of the Daily Bugle in the Spiderman films (and a number of other Marvel spin-offs). Simmons is quite simply astonishing, channelling the sort of Oscar-winning performance of Louis Gossett Jnr ("An Officer and a Gentleman") into his vicious drill-sergeant-style performance. He has been nominated in the Best Supporting Actor role for both Golden Globe and BAFTA awards, and I would fully expect him to feature in the Oscar shortlist when they are announced on January 15th. Personally speaking, he will be the one I will be cheering for in the awards themselves.
Cinematography by Sharone Meir is outstanding, with every drop of blood, sweat and tears glistening on forehead and cymbal. The editing by Tom Cross is also extremely tight, winding up the tension during key encounters. The combination of the two together with Chazelle's tight script effectively spears the audience in the gut.
The feature is based on Chazelle's short film of the same name, and on this basis he is a name to watch for the future.
Gut-wrenching and enthralling, this film will spit you out the other end feeling emotionally drained. This is simply a film you MUST see. Let me drum it into you again. GO SEE THIS FILM! (If you liked this review please see others at bob-the-movie-man.com and sign up to receive future posts). Thanks.
Bitches Whew
chaos-rampant23 March 2015
If this is already diminishing in my estimation minutes after watching, it's because it's about subjects that are dear to me, music, concentration, meaning in life and placement of ourselves in the larger music, but it has no insights to impart, or none that I have any use for.
The whole is about ego pummeling away in the effort to be someone in the eyes of others rather than the joy of the craft itself, about clinging on to achievement than flowing on the creativity of the moment, about perfecting technique than cultivating soul, what Spanish musicians know as duende; the deep urge that rises from the body and cries to express itself as music.
Now I'm not a fanatic jazzist who thinks the music should be portrayed in this or that original light, the film may well be seen after all to be about confused individuals who miss the point, a bad teacher. But the bad teacher who hammers home a trivial point is the filmmaker.
We see how this clinging is more or less disastrous for everyone, how it derails them from expressing soul. It's also what puts them back on the stage. But I miss the deeper and softer insight here, for which jazz is a model, that we should indeed strive to perfect our craft, but that's so we can be able to use it freely and without obstruction, so that we can pierce through the sheet, the notation, to the real hum of music that spontaneously unfolds in the room where we play with others, become the instrument for music that plays itself.
The film is in the end as small as what it shows, unable to pierce from merely polished technique to wonder or let go of fixation with accomplishment to begin immersion in fulfillment.
It ends just as it would have to do that. It all builds up to a last scene of dueling between master and student for room in the stage that finally perhaps sublimates all the ego and hardship in music that sweeps both. In that scene we have a frantic display of ego as determination, but is his drum solo great music or merely an elaborate flourish apart from the music that the music has to stop for?
And this extends in a cinematic way, the scene is adroitly edited but is it anything more than a piece of mastered technique, mechanical?
(I wrote last year about a film called A Spell to Ward off the Darkness which has a much more spacious swimming of the cinematic eye, also incidentally between instruments on a stage, but faced the same conundrum, soul wasn't there, duende. This is bar none the most striking limit in expression with a camera since the beginning of cinema, one that every great maker strives to push back. Many have.)
The whole is about ego pummeling away in the effort to be someone in the eyes of others rather than the joy of the craft itself, about clinging on to achievement than flowing on the creativity of the moment, about perfecting technique than cultivating soul, what Spanish musicians know as duende; the deep urge that rises from the body and cries to express itself as music.
Now I'm not a fanatic jazzist who thinks the music should be portrayed in this or that original light, the film may well be seen after all to be about confused individuals who miss the point, a bad teacher. But the bad teacher who hammers home a trivial point is the filmmaker.
We see how this clinging is more or less disastrous for everyone, how it derails them from expressing soul. It's also what puts them back on the stage. But I miss the deeper and softer insight here, for which jazz is a model, that we should indeed strive to perfect our craft, but that's so we can be able to use it freely and without obstruction, so that we can pierce through the sheet, the notation, to the real hum of music that spontaneously unfolds in the room where we play with others, become the instrument for music that plays itself.
The film is in the end as small as what it shows, unable to pierce from merely polished technique to wonder or let go of fixation with accomplishment to begin immersion in fulfillment.
It ends just as it would have to do that. It all builds up to a last scene of dueling between master and student for room in the stage that finally perhaps sublimates all the ego and hardship in music that sweeps both. In that scene we have a frantic display of ego as determination, but is his drum solo great music or merely an elaborate flourish apart from the music that the music has to stop for?
And this extends in a cinematic way, the scene is adroitly edited but is it anything more than a piece of mastered technique, mechanical?
(I wrote last year about a film called A Spell to Ward off the Darkness which has a much more spacious swimming of the cinematic eye, also incidentally between instruments on a stage, but faced the same conundrum, soul wasn't there, duende. This is bar none the most striking limit in expression with a camera since the beginning of cinema, one that every great maker strives to push back. Many have.)
Extremely powerful but too intense
technicallytyguy30 March 2021
Warning: Spoilers
I really do love this movie. It is powerful in the main character's overwhelming passion and drive to become the greatest drummer to ever live. I really do have an issue with the message though. The extreme levels of intensity that the music instructor Fletcher uses really does more harm than good for Andrew. He breaks up with his girlfriend, almost dies in a car accident, and gets obsessed in his single minded pursuit of perfection. It is an extremely interesting character portrait, but I don't think that it brings along a necessarily good message, but it is definitely a powerful one. It does bring along an extremely important psychological question: should you let your passion drive you to the brink of insanity in order to achieve your goals?
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