Whiplash is a 2014 drama film written and directed by Damien Chazelle. The film features a determined jazz drummer, Andrew Neiman (Miles Teller), and his rigorous instructor, Terence Fletcher (J.K Simmons). Amidst his ruthless teacher pushing him to the brink of his ability and sanity, his passion to achieve perfection quickly spirals into obsession. With an audacious screenplay and tight editing, Whiplash is as breathless as a drum solo, rising and falling just as the hopes of the protagonist climb and crash.
Although the film’s intention was not depicting an accurate ambitious drummer once you realize Chazelle was a drummer himself, we still must take this factor into account. As a drummer myself, the blood on Andrew’s hands and the exaggerated sweat on the ride cymbal is awfully improbable--taking away from its authenticity and maximum emotional involvement. Chazelle’s form of creating emotion and sympathy for Neiman’s character was excessive, and alternative approaches were necessary. On the flipside, the film’s execution of its concept was extraordinary. Questions such as “how far are you willing to push yourself to succeed?” and “how far are you willing to push someone else to force them on the path to success?” are raised. Critics use words such as “exhilarating”, “astounding”, and “electrifying” to describe in my opinion, the best film of 2014.
An interesting occurrence in directorial breakthrough movies is that they are mostly about characters going through a rough time period, reflecting much of what the director is experiencing. For example, Martin Scorsese was smoking cocaine and confronted with depression in the late 70s due to poor responses to his films. Robert De Niro eventually convinced him to make his final push with Raging Bull, which is now widely regarded as Scorsese’s best film. The masterpiece features a suicidal boxer who is sent down a downward spiral that costs him everything, echoing Scorsese’s blue period. The same, except less dramatic, can be said about Chazelle. Having directed three films with all lousy critical responses, Chazelle’s Whiplash mirrors Scorsese’s Raging Bull. With that out of the way, the ending scene of Whiplash was absolutely invigorating—possibly the most exhilarating ending to any film. Editor Tom Cross and cinematographer Sharone Meir skillfully cut and pan in rhythm precisely to the beat of the drums, fitting the intensity of the movie. From the astonishing drum solo to the brilliant tight editing, the film’s cinematography is undisputedly great.
To realize Whiplash’s brilliance to the fullest, we have to look at the acting. Miles Teller and J.K Simmons received universal acclaim for their respective roles, both having their finest performance of their careers. Simmons, who won an Oscar for his marvelous performance, plays a highly intimidating band director who had mentally and physically abused a student of his in the past to the point of suicide. Though even after the inhumane mind games and physical abuse, we find ourselves drawn to Fletcher, due to Simmons’ acting. On the other hand, Teller’s character, Andrew, boasts the flawless blend of uncertainty and tenacity that is noteworthy in the core of a young talent. Andrew is naturally apprehensive, but he also knows he has a drive, a passion, a skill that is unique. Teller walks that line, never faltering by making Andrew too confident while also carefully allowing viewers see the spark within that Fletcher fuels.
As much as the screenplay uses profanity, it's without a doubt witty and inventive. In the most memorable scenes, such as the “not quite my tempo” scene, Chazelle exhibits Fletcher’s outlandish character with clever and hilarious insults. Although the least memorable scenes in the movie include Andrew’s girlfriend and his relationship with his family, these scenes provide additional depth in Andrew’s rise and fall. The dinner scene with his family is not only cleverly written, but is a pivotal point in Andrew’s career, clearly outlining his frustrations. As Andrew’s descent into madness increases, he is met with his pinnacle of self-destruction, injuring himself in a car crash scrambling to get to his second performance. A basic three-act structure executed superbly.
A-
Although the film’s intention was not depicting an accurate ambitious drummer once you realize Chazelle was a drummer himself, we still must take this factor into account. As a drummer myself, the blood on Andrew’s hands and the exaggerated sweat on the ride cymbal is awfully improbable--taking away from its authenticity and maximum emotional involvement. Chazelle’s form of creating emotion and sympathy for Neiman’s character was excessive, and alternative approaches were necessary. On the flipside, the film’s execution of its concept was extraordinary. Questions such as “how far are you willing to push yourself to succeed?” and “how far are you willing to push someone else to force them on the path to success?” are raised. Critics use words such as “exhilarating”, “astounding”, and “electrifying” to describe in my opinion, the best film of 2014.
An interesting occurrence in directorial breakthrough movies is that they are mostly about characters going through a rough time period, reflecting much of what the director is experiencing. For example, Martin Scorsese was smoking cocaine and confronted with depression in the late 70s due to poor responses to his films. Robert De Niro eventually convinced him to make his final push with Raging Bull, which is now widely regarded as Scorsese’s best film. The masterpiece features a suicidal boxer who is sent down a downward spiral that costs him everything, echoing Scorsese’s blue period. The same, except less dramatic, can be said about Chazelle. Having directed three films with all lousy critical responses, Chazelle’s Whiplash mirrors Scorsese’s Raging Bull. With that out of the way, the ending scene of Whiplash was absolutely invigorating—possibly the most exhilarating ending to any film. Editor Tom Cross and cinematographer Sharone Meir skillfully cut and pan in rhythm precisely to the beat of the drums, fitting the intensity of the movie. From the astonishing drum solo to the brilliant tight editing, the film’s cinematography is undisputedly great.
To realize Whiplash’s brilliance to the fullest, we have to look at the acting. Miles Teller and J.K Simmons received universal acclaim for their respective roles, both having their finest performance of their careers. Simmons, who won an Oscar for his marvelous performance, plays a highly intimidating band director who had mentally and physically abused a student of his in the past to the point of suicide. Though even after the inhumane mind games and physical abuse, we find ourselves drawn to Fletcher, due to Simmons’ acting. On the other hand, Teller’s character, Andrew, boasts the flawless blend of uncertainty and tenacity that is noteworthy in the core of a young talent. Andrew is naturally apprehensive, but he also knows he has a drive, a passion, a skill that is unique. Teller walks that line, never faltering by making Andrew too confident while also carefully allowing viewers see the spark within that Fletcher fuels.
As much as the screenplay uses profanity, it's without a doubt witty and inventive. In the most memorable scenes, such as the “not quite my tempo” scene, Chazelle exhibits Fletcher’s outlandish character with clever and hilarious insults. Although the least memorable scenes in the movie include Andrew’s girlfriend and his relationship with his family, these scenes provide additional depth in Andrew’s rise and fall. The dinner scene with his family is not only cleverly written, but is a pivotal point in Andrew’s career, clearly outlining his frustrations. As Andrew’s descent into madness increases, he is met with his pinnacle of self-destruction, injuring himself in a car crash scrambling to get to his second performance. A basic three-act structure executed superbly.
A-