Whiplash
Dir: Damien Chazelle
Starring: Miles Teller, J.K. Simmons, Melissa
Benoist, and Paul Reiser
106 Minutes
Rated R
Names like
Miles Davis, Art Tatum, John Coltrane, and Charles Mingus introduced me to the
world of jazz music. “The Monster” by Gene Krupa and Buddy Rich, two of the
best jazz drummers of all time, was the song that enlightened my ears towards
percussion lead jazz music. Buddy Rich's solo in “The Monster” is something
impressive, just like director Damien Chazelle’s film “Whiplash”. The fitting
title describes in more ways than one the tonal quality of the film, which is
harsh, unexpected, and at moments painful. Lead by impressive performances from
both Miles Teller and J.K. Simmons, Chazelle has crafted a standout film.
Andrew Neyman
(Teller) is an aspiring student at a prestigious east coast music conservatory.
He is introduced playing his instrument of choice, the drums. Andrew is a first
year student, relinquished to turning sheet music for older students and
practicing countless hours in wait for his opportunity to showcase his skill.
Opportunity ferociously comes in the form of Terence Fletcher (Simmons), an
abrasive instructor of the top jazz ensemble at the school who utilizes
terrifying methods of education. Fletcher sees potential in Andrew and
challenges him through vehement verbal abuse and all-around intimidation.
Andrew, wanting to be the best, becomes obsessed in the search for perfection.
How do we
motivate each other? Positive reinforcement or supportive words of
encouragement are two ways? If kindness and heartfelt sentiments, amid a swell
of uplifting music, are what you are looking for in ‘Whiplash”, then you may
have watched the wrong trailer because the closest you’ll come to any of those
qualities would be heartfelt sentiments…meaning obscenity laced shouting from
the heart and felt forcefully across the face with a slap sentiments. J.K.
Simmons gives R. Lee Ermey’s “Full Metal Jacket” character, Sergeant Hartman, a
run for his money as the vicious, some may utilize bullying, instructor Terence
Fletcher. With motivations that are never fully explained or completely
identified, the viewer is left to examine the critical methods of abuse for
purpose. Is a certain amount of unrelenting push needed to reveal
potential? Or is it simply the flawed shortcomings of a miserable man?
These questions prove an interesting dichotomy when matched against a character,
Andrew, whose talents boast unmatched potential but whose character also craves
acceptance and reward. Chazelle handles this aspect exceptionally in many of
the scenes between the two figures.
Miles Teller
continues to impress. His performance displays the progression of his
characters consuming obsession. Practicing to the extent of bleeding and
cutting off relationships before they have chance to develop. Andrew wants to
be remembered as one the greats, which he points out aggressively in one scene
during dinner with friends and family. Chazelle does a fantastic job of playing
Fletcher and Andrew off against each other; the tension is near unbearable in
parts. Even before we see Fletcher in full profanity laden, homophobic and
racially charged assault, the viewer is offered acknowledgement of his control
through a scene that shows his intimidation by the expressions of a class full
of students who stand with heads down in silent fear and anticipation. J.K.
Simmons is terrifying and fantastic.
Familiar themes
are present however, where other films would offer predictable setups and
conclusions, “Whiplash” keeps an unstable narrative tone. Though conventions
inevitable take over and the abuse becomes so over-the-top it feels
far-fetched, Chazelle still maneuvers the film with skillful guidance
accompanied by exceptional performances, making “Whiplash” as bold and
confident as the jazz music that supports it.
Monte’s Rating
4.50 out of 5.00
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