Movie review: Whiplash - great expectations
The distance between being good and great is the longest
The distance between being good and great is the longest
If you plan on watching Whiplash to get an insight into the creative struggles of an artist, you might be disappointed. But if you want to witness how the heart, body and soul of a star are broken for him to be moulded into a genius, then this film is right on the money.
Written and directed by Damien Chazelle, Whiplash tells the story of Andrew Nieman (Miles Teller), a first-year jazz drummer at New York's prestigious Shaffer Conservatory music school who aspires to join the leagues of maestros like Buddy Rich and Charlie Parker. Hence, when conductor Terrence Fletcher (J K Simmons) accepts him into his studio band as the core drummer, Nieman is determined to let nothing stand in his way until he earns the approval of his mentor. Thereafter, the film follows the journey of the ambitious young drummer as he voluntarily strips himself of love, family, morals and ego just so he can rise to be the artist Fletcher wants him to be.
But no matter what Nieman does, he always seems to fall short. The pressure and frustration that tears him apart as a result is almost palpable. The tension is best captured in one of the rehearsal scenes when Fletcher keeps urging the young drummer to go faster, completely unfazed by his pained expression, blood-soaked hands and sweat-drenched body. And that’s just one of the many tortures Fletcher inflicts on those under his tutelage. His students are subjected to verbal insults, scorn, humiliation and even have a cymbal thrown at them for missing a note.
Simmons gives a remarkable performance as the charismatic but draconian Fletcher. Everything from his formidable black attire to his piercing gaze and the movement of his hands as he signals his disapproval is played to perfection. And Teller matches him every step of the way as the intense, young man torn between hating Fletcher and yet being the only person whose approval he seeks.
Apart from a few loose ends such as the lack of backstory on Fletcher, the plot maintains the complexity of all the characters rather than framing the story as a face-off between a hardworking musician and the villain who stands in the way of his glory. For instance, at a few occasions one can see glimpses of Nieman where he oscillates from being a talented, sincere artist to a selfish, entitled star.
Visually, the film has a dark, almost horror-like feel to it, which complements the plot perfectly. The dimly lit hallways of the music school provide an ideal backdrop for the battle of ego and skill unfolding within them. And the close-up shots of the drumming sticks against metal and skin allow the viewer to sense the intimacy of the bond between an artist and their craft. The real winner, however, is the unexpected final sequence.
Overall, even though Whiplash is not a flawless masterpiece, it puts its money where its mouth is and does a great job of showing how daunting the gap between doing your best and being the best can be.
Published in The Express Tribune, Sunday Magazine, February 22nd, 2015.
Written and directed by Damien Chazelle, Whiplash tells the story of Andrew Nieman (Miles Teller), a first-year jazz drummer at New York's prestigious Shaffer Conservatory music school who aspires to join the leagues of maestros like Buddy Rich and Charlie Parker. Hence, when conductor Terrence Fletcher (J K Simmons) accepts him into his studio band as the core drummer, Nieman is determined to let nothing stand in his way until he earns the approval of his mentor. Thereafter, the film follows the journey of the ambitious young drummer as he voluntarily strips himself of love, family, morals and ego just so he can rise to be the artist Fletcher wants him to be.
But no matter what Nieman does, he always seems to fall short. The pressure and frustration that tears him apart as a result is almost palpable. The tension is best captured in one of the rehearsal scenes when Fletcher keeps urging the young drummer to go faster, completely unfazed by his pained expression, blood-soaked hands and sweat-drenched body. And that’s just one of the many tortures Fletcher inflicts on those under his tutelage. His students are subjected to verbal insults, scorn, humiliation and even have a cymbal thrown at them for missing a note.
Simmons gives a remarkable performance as the charismatic but draconian Fletcher. Everything from his formidable black attire to his piercing gaze and the movement of his hands as he signals his disapproval is played to perfection. And Teller matches him every step of the way as the intense, young man torn between hating Fletcher and yet being the only person whose approval he seeks.
Apart from a few loose ends such as the lack of backstory on Fletcher, the plot maintains the complexity of all the characters rather than framing the story as a face-off between a hardworking musician and the villain who stands in the way of his glory. For instance, at a few occasions one can see glimpses of Nieman where he oscillates from being a talented, sincere artist to a selfish, entitled star.
Visually, the film has a dark, almost horror-like feel to it, which complements the plot perfectly. The dimly lit hallways of the music school provide an ideal backdrop for the battle of ego and skill unfolding within them. And the close-up shots of the drumming sticks against metal and skin allow the viewer to sense the intimacy of the bond between an artist and their craft. The real winner, however, is the unexpected final sequence.
Overall, even though Whiplash is not a flawless masterpiece, it puts its money where its mouth is and does a great job of showing how daunting the gap between doing your best and being the best can be.
Published in The Express Tribune, Sunday Magazine, February 22nd, 2015.