Whiplash

Released 16th October 2014, Whiplash follows aspiring Jazz drummer Andrew Neiman and his struggles while working alongside totalitarian conductor Terence Fletcher. The film hinges on the ever-present themes of obsession and success; mainly conveyed through Andrew and Terence. That said, the supporting roles all aid in connoting the impacts on Andrew’s connections with family and loved ones. Paul Reiser gives a great performance of Jim Neiman, Andrew’s father, as he acts as the mundane marker of Andrew’s life; he gives further incentive for Andrew to strive for greatness. Melissa Benoist is Andrew’s girlfriend Nicole; a character who provides the only moments of quiet and relaxation from the intense narrative.

That is probably the strongest aspect of the narrative; with the exception of occasional interaction with Nicole, the film manages to sustain an anxiety-inducing atmosphere which keeps you on the edge of your seat at all times. A particular aesthetic which aids this is the choice of Andrew being a drummer; the part of the band which often sets the rhythm for everyone else. We frequently find this in the film’s soundtrack (diegetic and non-diegetic) where the pace of the drums will accelerate across the scene. Many films have particular scenes where you are tense, but I feel that Whiplash is the only film where I can say the whole film sustains the tension across the full runtime. It is also worth noting that, despite how engrossed the narrative is in music, you are able to understand everything without a sophisticated knowledge of music (I myself am very intermediate in my in-depth knowledge).

Returning to the cast, Miles Teller gives such a palpable energy to Andrew Neiman throughout the film. He always has an aura of overconfidence which would possibly alienating an audience, however, the sheer tumult that the character endures through the narrative makes you feel pure sympathies for Andrew. Despite everything, he remains laser-focussed on his goals and you discern that his path will only descend as his ability ascends further and further with the aid of Fletcher. To say J. K. Simmons’ Oscar winning performance of Terence Fletcher was well earned is a gross understatement; he becomes Fletcher. He is scrupulously hellbent on forging his students into the next Jazz-star with his fiery rage which he lets loose upon those who are anything less than perfect. Simmons gives every single moment his utmost energy; energy you can feel whenever he dominates the screen. With this in mind, he also has moments of halcyon where the audience’s guard is let down, thinking he will begin a denouement, only to elicit greater response in his latest outburst.

The stellar performances are made all the more engaging by the stark colour grading of the film; there is a heavy use of dim greens but also humid oranges and yellows. The radiating heat felt off of the oranges and yellows work as an extra boost to the pressure and tension of the scenes they’re applied to. Damien Chazelle also works to make a fantastic visual emphasis on the musical instruments; we see how they work and the symbiotic actions they share with their musicians and therefore infuses further life into the musical atmosphere of the film. In conclusion, Whiplash is a film which works in every conceivable way to the point that I can genuinely say that I see no flaws in it; a statement which consolidates this as my favourite film of all time.