Jazz is smooth and mellowing to experience. The jazz in Whiplash is hellish preparation bordering on insanity. Pacing the group are two stellar performances from Miles Teller and JK Simmons, putting a terrifying spin on the mentor/mentee relationship. Whiplash is a cautionary tale for anyone willing to go to any length to be the best at something, an especially necessary tale for millennials.
Andrew (Miles Teller) wants to be the next Buddy Rich: the best jazz drummer on the planet. Even at the most prestigious music school in the country, Andrew isolates himself to practice to become one of the greats. His abilities draw the eye of star teacher Fletcher (JK Simmons), who pulls Andrew in to the top jazz ensemble in the nation. Fletcher’s tactics are extreme to say the least, but Andrew is so determined to be unlike his father Jim (Paul Reiser), that he abandons all other hobbies to practice, including potential love interest Nicole (Melissa Benoist).
The drive to be the best is rarely covered the way Whiplash covers it. The toll on poor Andrew is more similar to abusee/abuser than teacher/student. Andrew interprets the emotional manipulation as a sign of being pushed, and so he works harder and harder to stay in the good graces of Fletcher. Fletcher, however, has no interest in rewarding Andrew’s growth, he just finds more clever ways of warping Andrew’s psyche. The indirect consequences are just as powerful as the direct ones; by Andrew internalizing his struggle as the story goes on, he starts to neglect his personality, and he lashes out at his dad, Nicole, and anyone who threatens his worldview. The third act borders on being over-the-top with the lengths Andrew will go to to keep his top position, but the point is made: there is some line where drive and insanity where the line can be crossed.
Writer/director Damien Chazelle uses a drummer’s inherent expressive motion to milk power from Whiplash. Much of the movie’s success is due to its two leads. Teller supposedly did all the drumming himself; an impressive feat, since these beats are not exactly easy. In addition, the final 20 minutes give Teller a chance to emote with just his drumming, a euphoric capper on a great performance. Chazelle quick cuts during this scene between Teller and Simmons, much like a drummer would during a song. Simmons is electric, vicious, and potent as Fletcher, the teacher from hell. His put downs are given with unnerved conviction, until you get him outside of work, where he can be a pensive, thoughtful man. Simmons easily coveys Fletcher’s duality and is the main reason Whiplash works so well.
New York City captures yet another person trying to make a name for himself with Whiplash. Miles Teller cements his star status, and hopefully JK Simmons, Oscar Winner is at the end of the tunnel for these two talents. Seriously, at this point, New York City is filled with emotional trauma from all sides. Is anyone simply happy to just exist there?