Raw and Invigorating; Highly Recommended

Rating: 10/10 (22 November 2014)

Whiplash is centered around a drummer named Andrew (Teller), a first year music student enrolled at the prestigious Shaffer Conservatory, who is one night, whilst practicing his drumming skills, approached by the immensely respected jazz conductor Terence Fletcher (Simmons), who later offers him a place in his jazz band; the most respected band in all of the college. Andrew and Fletcher's personalities collide as Fletcher reveals a volatile and destructive nature upon Andrew's first rehearsal with the band. From here on out, Andrew attempts to earn the respect and admiration of a man who seeks only to push and demand perfection from his highly talented students.
Released earlier this year at Sundance to universal praise from critics and audiences alike, Whiplash is one of the most adrenaline filled films of the year, despite not actually being an action or sport film. Infused with an electric quantity of energy, primarily due to the inventive, fast-paced and astounding cinematography and editing, Whiplash dazzles, punishes, challenges and ultimately rivets the audience member to their core. This is first class entertainment; a film which captures the ferocity and vehemence of an action film of the likes of Edge of Tomorrow, whilst combining it with the exploitative tendencies and emotional range of a film like Gone Girl. Strange comparisons, but accurate nevertheless.
What makes Whiplash tick though is its unflinching documentation of a man who is so driven to achieve that he resents communication and socialization with those outside his chosen craft. Even as Andrew attempts to connect and discuss with those outside his life of drumming, including his father and a romantic interest in a girl named Nicole, the film always makes these portions of his life insignificant and unimportant in contrast. Andrew, unknowing of how to properly interact with people due to his lack of social skills, seems to be acting himself as he tries to fumble his way through a break-up and through seemingly insignificant conversations. His lack of interest in anything outside of his profession is showcased most prominently towards the end, where many of the characters receive little-to-no resolution whatsoever, apart from Andrew and Fletcher; the people instrumental in developing and challenging his drumming capabilities. Everyone and everything else simply fades into the background, as to Andrew, they're unimportant.
The film is intensely personal and often riveting in the way it handles the primary protagonist, as the cinematography often reverts to close-ups and still shots, focusing solely on his speed and his efforts. As Andrew drums his way to bloody fingers and immense sweating sessions, the camera seems to block everyone else out of the shot, focusing solely on his exertions alone. The entire atmosphere of the film helps us to focus on our main protagonist, allowing us to get more in-tune with Andrew, his emotions and his drive. This is partially due to the efforts of the lighting technician for the film, Jack M. Guberman, who provides an eerie colour palette for the frame; all the drumming, rehearsal and concert scenes are shot with an orange filter, reflecting a jazz-vibe. Whilst it's at first comforting, the intensity of the lighting continues to build and build as Andrew becomes even more concerned with success and perfection; by the final concert of the film, the camera seems to visibly remark upon the intensity and power of the lighting, taking notice of it at every opportunity.
Miles Teller and JK Simmons bring the characters of Andrew and Fletcher to life, and both are equally as commanding and compelling in their respective roles; Teller is fantastic as Andrew, whilst Simmons is merciless and cold as Fletcher. For neither of them to receive nominations for Best Actor and Supporting Actor come end of year would be a travesty, for these are honestly the most vivid and highly intense performances of 2014. The two men clash at each other with power and fire, but as they slowly come to respect the other as a fantastic musician and a driven individual, their delight and enthusiasm is most evident. Teller's eyes alone tell a story of pain and ambition, his expressions and eyes often moving from saddened to angry with natural precision. His somewhat sympathetic Sutter from The Spectacular Now entirely disappears as he inhabits Andrew, a man who is oft-times morally ambiguous, but commendable and confident nevertheless. Simmons is on a-whole-nother planet, the rest of this year's Best Supporting Actor Oscar contenders coming nowhere near his level of intensity, pain, emotion and brutal honesty. His threats directed at both Andrew and his fellow students are both sublime and ethically questionable, his moments of weakness and sadness raw and desperately genuine, and his encouragement forgiving and welcome. Every single scene these two are in together stun; they bounce off each other with grace, and as their relationship strains to an eventual climax, the tension leaps to new highs.
I've had few experiences at the theatre this year be this effective, engrossing and highly entertaining, whilst also being immensely vigorous and exhausting. Leaving the theatre, I was awash with emotions. As a musician, I was moved and provoked. As a casual viewer, I was stunned and depleted. This is a cinematic experience not to be missed, whether you desire a fantastic plot which takes a number of interesting and unexpected plot twists, a drama which focuses on the desire and desperate strive to become one of the greats, or a high octane burst of energy in a crowd of films that are currently in cinemas which lack such. Damian Chazelle's direction and screenplay is masterful, and fit alongside stunning performances, tempo-driven editing from Tom Cross, stunning cinematography from Sharone Meir and a brilliant score from Justin Hurwitz, Whiplash is undoubtedly one of the year's best films, and one of the best directorial debuts I've ever seen. Watch out for Damian Chazelle, for he has all the talent to go far in this harsh and destructive business.
10
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