There comes a point in every musician’s career when they reach a crossroads: do you push yourself that bit further to become the best you can be, or do you give up? What is it that drives us towards perfection? Does practice really make perfect?
Whiplash is a film
that explores the idea of fear as a motivator.
We’ve all had that teacher (whether in music or not) who scares you into
silence and paralysis. For some of us it’s
a deterrent; for others it pushes us towards achievement. Director Damien Chazelle captures this in a
film of unparalleled intensity that deserves plenty of Oscar nominations next
year.
This is an old-meets-new depiction of New York City,
juxtaposing cool icy modernism with the dazzling warmth of the limelight. Jazz drummer Andrew (Miles Teller) is in his
first year at music conservatory where he is invited to join the core jazz
band, led by conductor Fletcher (J.K. Simmons).
An utter perfectionist, Fletcher leads the band with
military precision, bullying the musicians through physical and verbal abuse. In one scene he dismisses a trombonist purely
because he was unsure about his tuning.
Yet in Andrew he’s met his match.
Inspired by the jazz greats, Charlie Parker and Buddy Rich especially,
Andrew aspires to be a legend, to the detriment of his personal
relationships. He’s unable to hold a
girlfriend, his arrogance destroys his family relationships and he sulks around
the corridors without any friends. Fletcher
simply wants to push his students beyond what’s expected of them, yet his
methods are highly questionable. For him,
“good job” are the two most harmful words in the English language. In today’s instant fame-obsessed world, Whiplash is a film that highlights the
passion and hard work needed to achieve celebrity status – whatever the cost.
As Fletcher, Simmons is the embodiment of pure evil. This is a terrifying, tyrannical performance that haunts long after the credits –
perhaps the greatest screen villain of the year. His duplicitous, manipulative nature is
equally captivating yet horrifying. One
minute he’s lulling the musicians into a false sense of security with kind
words, the next he’s using emotional tactics, horrendous insults and physical
abuse to instil total fear. With a
single, slight hand movement he has complete control over the musicians, the
camera and the audience – he is truly conducting the drama. There’s plenty of black humour too: “just
relax” he coos to Andrew with a wry smile.
Yet he’s not an entirely unsympathetic character. There’s undoubtedly a certain noble integrity
to his single-mindedness and his passion.
It’s his methods that are under scrutiny.
The Faustian parallels are clear, with Andrew selling his
soul to the demonic, sadistic Fletcher in order to become the best drummer he can be. The chemistry between the two actors is highly charged, each a formidable foil to the other. That Teller actually played the drums himself
is a remarkable achievement, but in a film where practice really does make
perfect, his physicality and endurance is astonishing. With the film completed in just 19 days, his
exhaustion is tangible.
Further, this is a film that emphasises the physicality of
musicianship and the rigorous discipline required rather than mental genius. The dynamic camera is edited to every beat
and pulse of the music, extreme close-ups visualising literally the blood,
sweat and tears of performance. As such,
Chazelle’s cinematography absolutely heightens the tension. Like the hypnotic drum roll that opens the
film, Whiplash builds intensely
through an almighty narrative crescendo before firing like a machine gun in its climactic final scene. It's a battle of nerves: with a distinct lack of dialogue, emotion pours from every drum beat and acute facial expression.
This is simply an extraordinary piece of cinema, combining music and visual storytelling in explosive unison.
This is simply an extraordinary piece of cinema, combining music and visual storytelling in explosive unison.
5/5
Watch: Whiplash screens
at the London Film Festival, with general release in January 2015.