‘Whiplash’ is among the most pulsating and heart-pounding films of the year, guided by well-focused direction and sterling performances from Miles Teller and J.K. Simmons.
Few films have the thundering pulse of Whiplash, writer/director Damien Chazelle’s sophomore filmmaking effort. Mimicking its heavily steeped jazz influence, it’s the kind of film that grabs you right by the hand, slaps you around and let’s you know that it means business. It is all the better for that reason.
Andrew (Miles Teller), an inspired but shy 19-year-old, wants to be among the greatest drummers of his time. While his family, save for his supporting father Jim (Paul Reiser), don’t understand him and his peers don’t really get him either, he is driven by his inspiration. But it’s not until he finds himself under the tutelage of Fletcher (J.K. Simmons), Shaffer Conservatory’s most persistent and fire-breathing conductor who pushes Andrew and his fellow band members beyond their breaking points, that he discerns what he really wants in his life.
Despite a blooming relationship with a young movie theater employee, Nicole (Melissa Benoist), Andrew’s personality and social life get engulfs in his unending desire to be the best he can be. But Fletcher, being the unwedded personality he is, doesn’t show Andrew any signs of mercy in his musical journey. If anything, the pressures he places become greater as he grows in prominence inside the band. But as he becomes more enraptured with his instrument, the question of how much is too much is more apparent.
With just his second film, Chazelle boasts a confidence and attention to detail that’s fairly remarkable for how advance it is. His writing, while butting into being formulaic at times, is fierce and well guided and his direction is just as diligent and orientated. There’s no denying Chazelle’s love of music, and the manner he mergers this passion for it in a cinematic manner is pulsating and defining in its ongoing storytelling engagement.
But at the heart of Whiplash are its performances, anchored with grace by Teller and Simmons. Teller has proven himself a talent to watch out for already, and his persistent but grounded work here exhibits a performer designed to bloom in his versatility. Stripping away his natural charisma and good-hearted personality, his Andrew convincingly masks the protagonist’s from meek to definite with ease. It makes Andrew equally fascinating and human.
But Simmons is truly the shiner here. His Fletcher, aided by insults and takedowns so fierce they would even make General Sgt. Hartman from Full Metal Jacket flinch, is mesmerizing to watch. His intensity keeps the movie on point, with his character always looking as if he is seconds away from pouncing like a caged animal. It’s a haunting portrayal, made all the more unyielding by the performer’s ability to give the character layers of depth with just one ill-tempered glance.
Adding to the movie’s attention is its dynamic editing from Tom Cross and cinematography from Sharone Meir. Both obtain the movie’s sense of drive and attention, building Whiplash up through its ongoing examination of bullying and persistence before capping with one of the most intense final 10 minutes you’ll see in any movie this year.
The movie’s message may seem a bit muddled to some, as it never quite puts its foot down on how one should feel about Fletcher’s actions. In some respects, this makes Whiplash all the more fascinating and discussion promoting, but it may seem a little un-surefooted to some audience members. They would be forgiven for feeling this way, had the movie not allowed the conversation to spark more interest on the matter.
In witnessing Andrew’s efforts to put blood, sweat and tears —sometimes, all three—into his craft, Chazelle makes an endlessly watchable and harrowing film, with a beating pulse that’s unflinching, memorable and deeply contagious. Whiplash is like an impassioned punch to the face, and I mean that in the best way possible.
Rating: 4/5
