Revisiting Whiplash (2014)

From the opening scene, Damien Chazelle’s Whiplash gets down to business. The opening scene establishes the power dynamics between Andrew Neiman (Teller), an aspiring drummer at Shaffer Conservatory, and Terence Fletcher (Simmons), an instructor at the same school. What follows is a study of their evolving relationship, testing the limits and lengths one can (or should) go to to achieve greatness.

Neiman aims to join the ranks of greats, Jo Jones, Buddy Rich, and Charlie Parker, and gives up everything in the pursuit of his goal. He has no friends, ends a perfectly good relationship with his girlfriend, and is hated by his family except his father Jim (Reiser). He alienates everyone, only to focus on drumming. Seeing the fire in Neiman, Fletcher takes him under his wing. His ruthless ferocity initially cracks Neiman, but Neiman keeps coming back and starts standing up to Fletcher. The film begets the question if there are any limits to be set, both as a student and an instructor, to become the best of the best. If there is an invisible line that should never be crossed no matter how enticing the results are. Fletcher clearly disagrees.

Whiplash also brings together two very different time periods. Neiman tries to emulate the greats of the 20th century, and Fletcher practices a teaching style that would not be much of a problem back then. However, in the modern world, where any instructing body, be it a high school, a university, or a basic college, is expected to not come down too hard on their students, one does wonder if that has any impact on the kind of students these institutions send out in the world. Is that why Neiman does not have a 21st-century drummer as his inspiration because there is no one that good? Fletcher believes so, but by putting together these two very different time periods, Chazelle brings an important discourse to light, which is what modern society counts on and values as success. Neiman’s relatives are overjoyed at the small successes of his cousins, but cannot appreciate Parker’s success. They question Neiman’s idea of success. There is no right or wrong stance here, but it is a good reflection of the current state of society.

It is hard to believe that this is Chazelle’s debut feature film. He brings a filmmaking finesse that one can expect only from seasoned filmmakers. His screenplay is tight with no fat to trim. Chazelle’s own experiences in a jazz band clearly show because of how immaculately detailed the film is. Justin Hurwitz’s score is one for the ages. What stands out as the best technical achievement is Tom Cross’s editing. It sets the right tone and keeps the tension just where it needs to be throughout. From slow-mos to jump cuts, the film utilizes every editing technique under the sun to hit audiences with the maximum impact. The scene where Fletcher insults Neiman, hurling a chair at him, elicits more chills than most horror film scenes. That scene is a pinnacle of coming together of the best efforts of everyone involved in the film.

In the end, I would put Damien Chazelle in the same league as Orson Welles for delivering one of the best debuts of all time. Whiplash asks important questions which any artist in pursuit of excellence faces in their quest. It also keeps the drama and plot in focus, holding the attention of audiences in a rapt focus. The thing about a masterful piece of art is that its greatness is timeless, and so is Whiplash.

*still courtesy of Sony Pictures Classics*

If you liked this, please read our other reviews here and don’t forget to follow us on Twitter or Instagram or like us on Facebook.

visajshah

visajshah.medium.com/