I’ve seen the trailer for Damien Chazelle‘s highly acclaimed Whiplash several times in the theater. Although I’ve decided it’s probably not for me, a review of the reviews is still in order.
AN INTRO OF SORTS TO WHIPLASH
Betsy Sharkey, Los Angeles Times: “Fear. Passion. Blood. Sweat. Tears. Pounding through the beat of a drum. Screaming in the crash of the cymbals. Fast, furious, raging perfection in bleeding hands, broken sticks, broken relationships, broken lives. Debris surrounding transcendent greatness. Ecstasy within the agony.”
Brian Tallerico, rogerebert.com, explains the plot basics:
A young man named Andrew Neyman (Miles Teller) is practicing late at night at his New York music school, one of the best in the country, when his drumming catches the ear of the infamous Mr. Fletcher (J.K. Simmons), the most important teacher at the school and the conductor for its most important jazz band. Fletcher pauses, listens, barks a few orders at the young man, and moves on, seemingly dissatisfied with what he heard. Andrew had his chance, that one brief moment many of us have to impress the people who can change our lives, and he didn’t cut it. He goes back to his routine class band, telling his dad (a wonderfully genuine Paul Reiser) that his opportunity to move up probably passed him by.
David Edelstein, Vulture: “The title Whiplash is dead-on. That’s what it is; that’s what it gives you.”
Before you watch, a warning: a strong aspect of Whiplash is Fletcher’s intense verbal, emotional, and physical abuse of Andrew, purportedly to coax excellence out of him.
Brian Tallerico, rogerebert.com: “How far are you willing to push yourself to succeed? How far are you willing to push someone else to force them on the path to success?”
Rex Reed, New York Observer: “The question is: how much should one talented but sensitive individual be willing to suffer for his art at the hands of one brilliant but terrifying bully?”
Betsy Sharkey, Los Angeles Times: “The question Chazelle poses is whether psychological pain is the price of greatness. Does it take emotional scarring and physical extremes to push the talented to reach extraordinary heights?”
ANDREW AND FLETCHER
David Edelstein, Vulture:
[Fletcher’s] behavior is monstrous, but the question hangs: Does Andrew at this point need a ‘bad’ father? Andrew’s real dad (Paul Reiser) is a soft, mild presence, a man who watches black-and-white movies and sprinkles Raisinets on his popcorn. He loves Andrew unconditionally—which is just what we want from a parent, right? The absence of such unconditional love fuels billions of hours of therapy and is the root of a thousand unreadable memoirs. But to go to the next level, does an artist need to fear being shamed?
Tomas Hachard, NPR: “What Chazelle stresses about Andrew is his obsessiveness. And what he really nails about obsession, about those people who work tirelessly at a specific goal, is that their struggle is not about achieving success rather than failure. It’s about demonstrating genius rather than mere talent.”
Brian Tallerico, rogerebert.com: “Simmons perfectly captures the drive of a man who believes his abusive degree of pressure is the only way to produce a diamond.”
Elizabeth Weitzman, New York Daily News: “The story arc is too predictable, the near-complete absence of women a bit disconcerting. The movie skitters towards its audacious premise — endorsing misery as creative motivation — without having the nerve to commit fully.”
Peter Debruge, Variety: “…ultimately about a rivalry not between Andrew and his instructor, but between the promising teenage drummer and himself.”
Richard Corliss, Time: “… Chazelle provides a potent metaphor for artistic ambition as both a religion and an addiction. You go through Hell to reach your goal, and maybe Hell was the best, most intense part of the process.”
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