It does suggest that you have to be deprived of a meaningful relationship to achieve your goals. While the film is a gripping experience nonetheless, in retrospect perhaps it is too bitingly cynical. Each turn of the story shapes his expectations and ambitions and then escalates it to the right point. 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. It's the virtuosity of the writing that allows us into Andrew's head however. Chazelle is committed on expressing the physicality of drumming and Teller captures it exhaustively without feeling contrived. Teller's performance as Andrew is terrific, one to match Simmons. The roaring beat in Whiplash puts your heart in your throat. Drummers have to make decisions within a fraction of a second and talent can only take you so far. That's why drumming is such an interesting choice for the film to explore because it's so instinctive. What is objectively great in art? When is it good enough, and why? It toes a fascinating line. What grabs me about the film is its discussion on artistic perfection, and especially in these intimate and rough sequences of practicing. His poisonous words are more a part of Andrew's psyche than legitimate coaching techniques. 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. 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. 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.
#WHIPLASH CRASH VALLEY TORRENT FULL#
Lee Ermey's drill sergeant in Full Metal Jacket. Even though he's an unlikeable character with nothing nice to say, he's still somewhat endearing and enigmatic, much like R. 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. He's a force of nature, with a terrifying presence that incites the fear Bryan Cranston achieved with the peak of his Walter White.
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. Even so, Fletcher is a man who can tell if you have the right tempo within a bar. 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. They're urgently looking for the next Parker, in search of perfection. 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. Simmons like we've never seen him before. 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. If writer/director Damien Chazelle was striving for greatness as much as his protagonist, then he has achieved it. This is a film that resonates on every single level and every moment counts.
As a result, it's the best film I've seen in years, and I say that without hesitation. Whiplash is a film that stops at nothing. Underneath, it's a piercing examination of the psyche of unbridled ambition. On the surface, it's a gritty story about a brutal student-mentor relationship that oversteps boundaries.
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.
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