Review : Whiplash

Well, I got this recommended by my mentor in Musik Klasik 3 Club. Definitely a film I'm eager to watch for its way of portraying someone. And for the first GIF, I'd hope it doesn't give you the wrong idea.

                            

Produced by :

Blumhouse Productions

Bold Films

Right of Way Films

Directed by : 

Damien Chazelle

Credits:

Miles Teller as Andrew Neiman, an ambitious young jazz drummer at Shaffer Conservatory

J. K. Simmons as Terence Fletcher, a ruthless jazz instructor at Shaffer

Paul Reiser as Jim Neiman, Andrew's father, a writer turned high school teacher

Melissa Benoist as Nicole, a movie theater employee who briefly dates Andrew

Austin Stowell as Ryan Connolly, another drummer in Fletcher's band

Nate Lang as Carl Tanner, another drummer in Fletcher's band

Chris Mulkey as Uncle Frank, Andrew's uncle

Damon Gupton as Mr. Kramer

Suanne Spoke as Aunt Emma, Andrew's aunt

Jayson Blair as Travis, Andrew's cousin

Charlie Ian as Dustin, Andrew's cousin

Henry G. Sanders as Red Henderson

C.J. Vana as Metz, a trombonist who gets dismissed by Fletcher mid-rehearsal

Adrian Rashad Driscoll as Reed, a trombonist

    The first scene portrays the sound of drumming. Ambience in the distance. The beat was still echoing throughout the damp corridor. This first scene is one of many scenes that's captivating. At first glance, the composition of the scene gives an aura that it'll be a horror film. The nuance of damp, dark, but lively yet so energetic has my attention. In the film, it wasn't directed right to the player, which in my sense, it means that the point of the film is revolving AROUND the main actor - the drumming, the beat, the composition - and this is why I chose to watch it until the end.

    The main actor here acted with the name Andrew Neiman, a jazz drummer who were studying in Shaffer Conservatory. He joined with a jazz band under the attention of a mentor, Mr. Kramer. Neiman decided to continue his study of jazz after graduating from high school and attempting to become a jazz drummer at Lincoln Center.

    Shaffer Conservatory has two separated main band with two different mentor, Mr. Kramer and Terence Fletcher. Fletcher here was a senior jazz mentor with the authority of handling the main band of Shaffer, Shaffer Conservatory Band. This band was focused to be the best and composed only by potential player. With the attention from Fletcher, Neiman got his chance and was asked to come at a certain time for a session with the Shaffer Conservatory Band.

                 

                  Terence Fletcher                                                            Mr. Kramer

        This one scene, fletcher was undeniably made a fool out of Andrew. Three hours passed, Shaffer's Conservatory Band members start to come in. Every one of them was gearing up and knowing that he isn't the main drummer, he shifts over for Tanner, aggressive yet cynical one that roles as a main drummer. Fletcher goes in and the room seemed that it was going through a test. Every member stands up, waiting for the clue to sit down and play the part.

    On this scene, I didn't hope much, but from this, I can get a broader view over fletcher and the potential of the situation. This scene starts when fletcher gave his clue and, in a moment, Shaffer was into the composition. Couple bars into the composition, fletcher noticed there's an out-of-tune instrument in his band. He immediatly stopped the session and start to ask a question

    "We have an out-of-tune player here. Before i continue, would that player care to identify himself?"

    This question was followed by one of the most raw, spiteful and clean moment among other notable scenes. The given response was in the form of swears and spits to metz (that person who was accused by fletcher). This act proves my presumption that fletcher doesn't tolerate any tiny mistakes on the band. . The next second, Neiman got into the drumset and, as clear as it is, he got a much more 'appreciation' than metz before.

    In this one scene, I absorbed by my own mind to arrange the composition and the self of fletcher that to reach a boundary, every act must be done as if it was being tested all the time. This includes to minimize any small mistakes, even at practice. No fault at practice meant that it was pushed beyond the goals : to put over something that is more important than yourself.

    Shaffer's conservatory band finally drags its foots to the competition with tanner as the main drummer. Neiman followed him as an alternate drummer and have a main job : to flip over Tanner's partiture. On the breaktime, Tanner ask Neiman to hold over his document containing the partiture for the next part. Neiman put it on an aluminum chair and walks a few steps for a snack from the vending machine. His glance was venting slowly for a rest.

    He lost the document.

    The breaktime comes to an end and Neiman got to give it back to Tanner. As we know that he lost it, Tanner frantically rages over Neiman. But with the presence of Fletcher, he holds his anger and search reasons to not go on that stage and hijack the performance. Fletcher saw this as a threat and loudly claim that Tanner should be able to perform, even without the partiture. Neiman stands for a candidate.

    Fletcher reassured his belief that he remembers completely every measure and approved of him. Thus, The lightstage starts to dim out and the members was on their instrument. 'Whiplash' plays out and it turned elegant yet undeniably proven by the next scene, which the band got a Certificate of Merit on the same day. This success drove him to start his time with his crush, Nicole. To have a dinner, he anxiously walks up and ask her before the counter, as she works as a cinema's staff. The relationship goes over his expectation and comes the time for him to participate once again on a different part.

    Time goes on and, led by fletcher, Shaffer's conservatory band drafted into another competition. As new competition needs a new composition, it sets a new list of composition - one that includes " Caravan".

    On the first paper spreading, Neiman was startled to find that Connelly - the main drummer on Mr. Kramer's band - got the part from being pointed by Fletcher himself. Then, the two was demanded to play the part right on that precise time with Neiman haven't practiced anything related to the part. As they showed their own capabilities, Fletcher loudly claimed that the role was given to Connelly. Neiman was undisputably hateful yet stressed by his unctrolled reaction of saying harsh things upon Connelly's play. Connelly was having his own eyes and smile wide. He apreciates over Neiman's presence and calm Neiman down for not earning the main role. Neiman, although isn't upset by Connelly, rushes his own feet to Fletcher.
    
    Neiman, who was dissatisfied upon the decision, insisted Fletcher to choose him for the main role. And this scene, I personally think, was meant to depict our real life situation. Here, there was a conversation which seemed serves as one of, if not, the best moment that relfects our daily life :

    Neiman : "Hey, look you... I can play these chart."
    Fletcher : "Now is not the time, I swear to God"
    Neiman : "I said I can play it,okay ?"
    Fletcher : "I SAID NOT NOW!" (Raging voice)
        (*Little pause*)
    Fletcher : "If you want the fucking part, earn it."
        (Intense atmosphere)

    This scene was giving me an impression of such a forced climax in a story. But, it wasn't done in vain, meanwhile it was to portray Fletcher's ambition reaches. As the main conductor of Shaffer's main conservatory band, He was responsible for everything downs and ups of the band. And this includes every tiny mistakes that had been done by his own band. This depictions was ultimately done by his thoughful gestures, his same lone yet focus line of sight. It was also made to show that the importance of Fletcher's work weighed more than anybody's interest.

    The sentence, "If you want the fucking part, earn it", has a affirmation-like tone and this is may the most supporting sentences I've ever seen in a thriller-based movie. The logic that is run by Fletcher gives the impression that he was still sane enough to lead a band himself. He even gives an advice to Neiman to work harder than asking for the role. It was so compatible with the atmosphere built from the start that it was somewhat weird to see a conflict without a physical threat. For me personally, the idea of hustling comfortably sits in my mind because it was worth for the acknowledgment of the work involved : one and cannot be stepped by another thing trivial.

    Another thing that is worth to be praised for is that the depiction where an adverse is such a friend in another aspect. here, it was seen by the presence of Connelly. Connelly, with his over-the-top personality, he blends rightly and proportionally right into the environment - in this case, Fletcher's environment. He smiles right through his own way to the drumset. He even smiles to Fletcher beforehand - another prove that he was suited for Fletcher's testing. Neiman, with his own unreadiness, was forced to play by his own nascent knowledge over the part "Caravan". Manifested on his play, he scorned over Connelly's play after Connelly got the promotion. And one face of human is perfectly portrayed over this scene - Insecurity. With the rage and hate, it was clear that Neiman hated the decision made, But then, insecurity came from the uncontrollable rage in which Neiman partook. By such phenomenon, we may be reminded that a competitor is not always a foe in any other aspect.

    Going onto the next scene, Neiman was on his drumset, along with all other player, praticing "Caravan" . Most of the player were exhausted and Fletcher spited the play on the drums. Fletcher's on his rage and took the band for a rest, except for the drummer : Tanner, Connelly, and Neiman. They were held in the studio for another 'intense' practice. 

     As the film shows, the beat was sounding over the corridor while other player took their rest. Going back to the studio, the three was playing the same bar on overtime right before each other. The intensive atmosphere was brought upon more buildup as neither of them was capable enough to reach Fletcher's standard. In his own sweat and Fletcher's scream, Neiman took over the drumset and play for the fifteenth time. Fletcher was on his side, cursing him for his incompetence. And with Neiman own demise, he played perfectly until his own hand bleed over the drumstick and spread over the snare and cymbals. Thus, the role was given up to him.

    Truthfully, I couldn't expect that a scene like this will be on the film, but to have an opinion, I will say : This may be the movie of the year back then. For this movie, I was expecting much of the jazz play was done on a lightful-suspense-such-a-way, but I miss the reason why that such movie must have a conflict. In the movie, Fletcher said tha in the 50's, Charlie Parker was good enough for the sax insteument and one day, on a jam session in a bar, he stepped up to play with the renowned drummer, Jo Jones. As it plays out, Charlie didn't recognize the chord changes and with Jones's Irascible, he was thrown a cymbal aimed to Charlie to rush him off stage. Charlie was laughed off stage and made the promise not to be negligent on the stage ever again. I think, it was the same for this occassion, but a little difference located on Feltcher's consideration to test the three. Fletcher's words was moving yet imperative to get the most out of the drummer. Fletcher even went out to scorn Connelly's family that he was abandoned by his own mother. Such a thougtful conflict.

    Next up, Neiman was on the bus for the day of competition.

    Neiman was on his seat on the bus heading towrd the gathering point and to his bad luck, the bus went down because of the flat tire. Still on his clear mind, he headed toward a car dealer and rent a car to go to the place destined. Spurred by time, he was careless enough to left his drumstick on the office of the rental and when he arrived right behind the stage, Fletcher was fueled enough and stated that he was replaced by Connelly. On his temper, Neiman cursed Fletcher and went for his argument with Fletcher. This resulted on a bet : If Neiman hadn't arrived before the performance, He swore over himself to be dispelled from the Shaffer Consevatory.

    Neiman went into his car and drove to the previous dealer. He picked up his left drumstick and a few second after he drove away from the dealer, Tanner called him to ask where he was and the band was already seating up on the stage. In an ill-tempered way, he asked Tanner to hold Fletcher up and unconsciously mocked Fletcher in the moment. He was so focused then that he didn't see a truck coming from another way.

    The driver's window was broken. The car was shown to be flipped upside down. Neiman was thrown over on his seat. Desperate yet so furious. His eyes was closed after a while and he lifted himself out of the formless interior car. Covered in blood, his face was still on a spry stature. The truck driver got out and came near Neiman to ask about his recent condition and whether He needed help or not.

    Neiman ignored the truck driver and snatched his own drumstick and walks himself to the auditorium. And there he found, the performance was about to start

    Fletcher's hands had started to swing around a little, demanding all the players got into place, exclusively for Neiman. Here, the performance started and as we know from his own open wound, Neiman wrecked the composition, internally, and at the same time, he broke Fletcher's image in front of the jury. As Fletcher held up the performance in the middle, he then came over Neiman and said that he was done. After that, Fletcher disbanded the formation and said to the audience that there was an 'error' in the drummer. He then informed that that night's performance was ended. Neiman stared at Fletcher furiously.

    Neiman then jumped over the drumkit and rushed toward Fletcher. He pushed Fletcher off the pulpit and tried to strangke him. Connelly and Tanner then ran to Neiman to stop him, while after that, one of them asked for help from the authorities.

    Fletcher was struggling. He pushed Neiman's head and screamed, "Get off me!" Neiman then was furious enough to hit Fletcher's rib, which resulted in 3 broken ribs. After the authorities tried to pull him, Neiman was finally arrested and was sent back home. The performance ended in a such rough manner.

    I think, this 7-minute scene have all the emotion involved when you're trying to reach something. Neiman, as a person whose ambition was unable to be controlled, saw nothing as a hindrance to his own ambition. The purpose was almost can't be separated that it was somewaht manifesting as its own identity. One of the things I liked most on this scene is that when Neiman realized that he was on a truck accident, yet he still persevered through his pain to continue the performance. The will was easily to be portrayed on a film, but it was refreshing to see it on a new depiction. The ecpression he showed didn't show any mercy for the sake of his purpose; didn't want to see any probable failure. His undefeated will, i think, has a special position on the way the film proceeds because it was obvious that not everyone will try to get through something such as that accident.

    With Neiman out of Shaffer, he decided to set the drumkit to rest. A few days moved on without purpose. Not long after that, there was a calling for him to give his testimony about Fletcher's method of teaching. As timid yet exhausted as he was, He told as far as he would tell. His days broke upon his own eyes a few days ago.
    
    After a few days passed, He brought himself up for a walk, even in the mid of the night. New Jersey was cool at the time. In one moment, he stumbled upon one board aside a bar "Special performance : Terence Fletcher" He got in and there he found Fletcher played the piano. Gently yet the atmosphere was like made for dearest one. Neiman stood still. Fletcher noticed him after a while. After Fletcher finished, he then rushed to call Neiman and asked for a time to chat. On the bar table, Fletcher gave his story that he was no longer working in Shaffer, but he was asked to lead a new band. From this topic, Neiman was offered to be the main drummer in the band Fletcher led.

    One of the things I assumed was critical here was a short monologue from Fletcher who gave an analogy over his work in Shaffer with an old story of Charlie Parker and Jo Jones. He gave the conclusion :

    "... Parker's young kid pretty good on the sax, gets up at a cutting session. And he screwed it up. And Jknes nearly decapitqtes him for him and he's laighed offstage. Cries himself to sleep that night but next morning what does he do? He practices. And he prqctices with ome goal ij mind. Never to be laughed at again. Amd a year later, he goes back to the Reno and he steps up on that stage and he plays the best motherfucking solo the World has ever heard. So imagine if Jones had just said, 'Well, that's okay Charlie. That was alright. Good job'. Then charlie thinks to himself, 'Well shit, I did a pretty good job.' End of story. No byrd. That to me is an absolute tragedy but that's just what the world wants now. No wonder why people think jazz is dying... There are no two words in the English language more harmful... than good job."

    This sentence have such a clear image on Fletcher : he has fun contributing oneself with an accomplished company. In the aspect of teaching, He'd prefer to see his own disciple to have his/her maximum development. Other than that, he portrayed himself as one who take act based on the mistakes on the past : the greats broned from the ashes of the past. Fletcher believed that the metjod he used has the potential to push his disciples. Forward, he also stated that the greats never had such a simple purpose fot attaining the maximum potential. And the fact that environment they lived never always helping them in their process. This the last point is my favorite point from all of the notable scenes.

    This last scene tells the story in which Neiman finally have his second try to perform professionally once again at the JVC fest. Neiman anxiously contacted his ex, trying his one relationship once more to a fix, even with his own decision to break up with him. Nicole denied.

    Proceeding to the stage, Neiman geared up his drumkit. Fletcher saw and came over him to say gratitude and welcome to his new chance to prove himself. Fletcher also said that he knew everything: that Neiman was the cause Fletcher was dishonorly discharged from Shaffer.

    Fletcher drew his face back and gestured himself to the pulpit. After a little greetings for the audience, Fletcher loudly stated that the play will brought a piece of music called "Upswingin'"; Neiman was practicing "Caravan", his old tune at Shaffer, all along. Neiman nervously tried to get out of his set, but the play was started and he was forced to play only with feeling. Fletcher just stared at him in a straight yet furious manner. And with jazz vomposition, it is definitely hard to play without knowing the composition first. And here, Neiman screwed up once again. As the time goes, He played without a synchronized tempo and beat. After the part ends, the light started to warm up and Neiman got into the backstage.

    As Neiman walked himself to the backstage, his father came after him to hug him out of shame. A moment passed after a hug with his father, He struck out to his drumkit once more without his suit. Fletcher gasped, but kept his calm composure. Fletcher took control over the atmosphere and started to give a new greetings about what piece will be brought after this. Before Fletcher could end his speech, Neiman furiously hit the cymbal and play a drum intro.

    The sound of drum solo composition Neiman arranged echowd throughout the auditorium. Fletcher turned himself to see what the cause of such disruption. Fletcher's stare was returned calmly. The bassist beside Neiman was whispering about what exactly that he's trying to do.

    Bass player : "what are you doing, man?"
    Neiman : "I'll cue you in. Caravan"

    Neiman continued his play and the cue was given for the double bassist.

    The heavy basslines started to kick in. Along with it, tunes and rhythm from the piano accompanied Neiman. Without diverting his attention, Fletcher kept focusing to the horn section; it's his last composition on that day. Not long, Neiman was approached by Fletcher.

    Fletcher : "I'll gouge your motherfucking eyes."

    CRASH! Neiman hit the cymbal, almost hitting Fletcher's face on the process. Such a gesture to drive away Fletcher. Fletcher took a step back and went to the podium. One minute into the play, the composition entered into high flow. Increasing tempo drove the atmosphere more enthusiastic yet intense. The main theme of the play started to be heard more frequently. Two minute into the play, trombone solo took place. Here, Fletcher was seen to be a little more calmer. While he brandished his hand, his head was movkng along with the beat. Into the third minute, "Caravan" got into climax and the path of resolution was seen. Orchestra's play was starting to getmore dynamjc and the call-and-response characteristic was getting more loud and loud. Each instrument was complementing each other at every expense. At the end, "Caravan" ended and Neiman still playing.

    The lights was dimming out. Lukewarm was felt by the audience. Neiman's beat fill the emptiness of the auditorium. A few bars were passed. Fletcher then approached Neiman.

    Fletcher : "Andrew, What are you doing, man?"
    Neiman : "I'll cue you."

    Fletcher only stared cluelessly at Neiman as he kept the tempo and beat in sync. Lightly, Fletcher nodded and went back to his podium. Preparing the orchestra to give a final blow to complete the prolonged climax from Neiman, Fletcher kept staring at Neiman, slow and sharp.

    Neiman's play was filled by various fill-in, beat changes, tempo changes and the way how he play the snare. As the climax of the film, this 5-minute scene was only showing the dramatic movements of the drummer. Fletcher, unseen, was fixing Neiman's cymbal when his cymbal almost fall out of place. Fletcher was watching his disciples grew. Neiman was finally reaching to what it seems to be an end.

    Fletcher then cued Neiman to slow the tempo. He, with his hand, asked Neiman to play the snare according to Fletcher's sign; Fletcher was guiding him toward an extravagant end. His sign slowly kept increasing until the point where the tempo was almost inaudible if I didn't pay attention to the hi-hat clicking. Fletcher then went back to his podium and waiting for the last cue from Neiman. After Neiman's last play from the cymbal, He then looked at Fletcher as if looking for an affirmation; Exhausted.

    With a little gesture, Fletcher got the clue and the show was ended with an unisono from all section. This last act was meant to be the closing of the film.

ANALYSIS : PLOT

    OK. There's much to uncover here. Let's start with the heart of the show : the feel.

    From Neiman's standpoint, I think it is common to have a little romace in a drama/thriller film, but what I'd like to point here is that his effort to fix his last broken relationship. He definitely knew that it was almost impossible for the relationship to be continued once again, but the fact that he still tried to have his chance is something rare from my experience recently related to film. It was kinda refreshing to see something like this be served, but I think it is coherent with the time this film on aired. Beside that, the use of certain words when Neiman called up Nicole may have an cliché image from the film, but still I can see that it has a clear purpose. Nice one, director!

    Next up, the second interesting part is when Fletcher led a new jazz band and invited Neiman for a new show together. Neiman, who didn't know anything at all, were forced to play a part which he haven't practiced. Yet He still tried to play and syncing with the rest of the band. As we know from the film, He screwed up. I think, This kind of occassion hurts so much for anyone who had a part to present something on a stage, even for a professional person : have to do something, but didn't have any capability to see what to be done. The common yet harsh oressure from the audience to be seen as perfect was invisible yet not surprisinh. On this scene, Neiman who was helpless give the best imagery from his state of mind. And this is the part where I love it.

    Along with that, I may discuss the depiction of Neiman's personality from the film. Here, Neiman was portrayed as a person who were being fooled and manipulated by Fletcher; Being someone that doesn't understand anything and was forced to be guided by his only mentor, which isn't a likeable mentor. His shame, fear, fright, and imbecility was drawn all over his face just at the right proportion. We can have an analogy with this idea of utter helplessness by seeing someone whose looks make an slow and timid response, but He was pressured by his own moral obligation to serve something to an audience.

    Neiman still did his best to contribute to the play, even though he didn't know far much about the situation around him. For me, I couldn't see why such person - in this case Fletcher - still wanted to embarass Neiman while Neiman himself already mourned enough for his mistake for sacrificing more than what he could. But still, I couldn't hope that to happen on somebody in pursuing their goals. In the end, still Neiman got his own way of pursuing the title.

    From this attitude and his decision-making mind, it could be concluded that there's always a choice in doing something and the choice was in nobody's hand, except you.

    Into the third interesting part of the story, I will be talking about how Neiman's attitude and act after being embrassed by Fletcher on the stage. The scene I'll be talking about is where Neiman was being embarassed by Fletcher. At the scene, Neiman was playing an unknown chart, " Upswingin", but then He brought himself to his seat and 'hijacked' the role of band leader. In a moment, the band was following Neiman's play and going deeper into "Caravan". His dynamic intro was like changing his motive from rushing to be the best to PROVING that he was the best. OK, it may heard the same, but the difference is one the act that Neiman took to face his last hindrance, Fletcher, his own mentor. He didn't let his stare to be diverted, even just to see how the nearby player are doing. I think This nascent 'ideology' was one of the final process of Neiman's development. This also can be perceived as the same natural instinct in human where humans tend to Fight or Flight - and Neiman chose to fight.

    This new ambition was forcing Neiman to fight without forethinking about what could happen as a result. This ambition was meant to be the last resort that it doesn't even care for any obstacle. It take form in the act of hitting the cymbal when Fletcher came to threat him. It also indirectly coerced Fletcher to step back and see what Neiman's got in his hand.

    Thus, I have to say that the director has done his job to deliver the best form of ambition I've ever seen in this recent years. For this one, I'll take this scene as my favorite scene.

    Toward the ending scene, I'll be taking some of its moments as notable : Neiman was giving a drum solo after the chart "Caravan" ended. On this part, Neiman made Fletcher himself to wonder what was the purpose of the drum solo. Fletcher only being told that there will be a clue to end the chart by giving an unisono. Here, I think the most unique atmosphere was build.

    Slow motion of the drumstick. The silence of the drumming beat. The ricochet of the cymbal with every beat. The time signature change portrayed as the a water bouncing off the cymbals. His own sweat was drying up yet looked still new. Neiman's instability of body and soul was able to make this scene spoke for itself. Neiman's focus was altered along with every toms and cymbals he had to hit; to justify his ambition. Other than that, the slow focus in which the film portrayed was decisively made to show that the main theme of this film is ambition. Unstoppable, irresistable, yet justifiable in its own way.

    On this 2 minute scene, I realized that I liked this film.

    As the final beat starting to come, Fletcher approached Neiman. Watching and helping him with his gear. Fletcher guided Neiman through the tempo of the play. He did it with such a sticky eyes, as if He was watching something more important than the show itself.

    On this last notable scene, I'd like to point out a little message that I think the director wanted to passed to us. For example, we'd take a look over when Neiman synced himself with Fletcher, his own fear. Neiman who before wasn't considering Fletcher as his teavher, started to go with his guide in the closing. He started to acknowledge Fletcher as a teacher once more. This phenomenon was like a depiction of one making peace with his own fear. Aware of the fact that we ourselves who controls how we respond to our fear may be a clear understatement of related scene. I assume, this is the last words that the director wanted for us to know and implement.

    With time, a story must have its own end and this story ends with much thanks from the author and respect for the cast involved in making this film available around the world.

    Thanks.


    Bri.