2014 drama
Rating: 17/20
Plot: A kid who wants to be the next Buddy Rich will do anything to achieve his dream of reaching drumming immortality, and that includes dealing with an almost sadistic, abusive instructor at his music school.
I was pleased to see this did win an Oscar for editing because I don't think I need to see another movie from last year to make the decision that this was the best-edited film of the year. And I didn't think about it until just now, but this deserves its "Best Achievement in Sound Mixing" award, too. That's all especially true during a very lengthy climactic scene. I don't want to spoil anything, but I'll say three things about it. First, it's one of my favorite endings I've seen in a while. Second, it's one of the most invigorating things I've ever seen, just completely intoxicating. And yes, I'm aware that that might sound hyperbolically implausible, but it really is. Edge of my couch. Mouth agape. Spleen shivering. Third, I can't right now remember a movie I've seen in which music is filmed better, or at least this thrillingly. You don't like jazz? Well, the ending of this movie is going to make you like jazz, at least for ten minutes. You'll forget who Paul Reiser is even though he's right in front of you, and you'll suddenly like jazz music. And an ending that is capable of pulling either of those off--let alone both of them--is an ending, ladies and gentlemen. I'd love to argue with somebody about whether or not it's a happy ending or a completely devastating one or a little of both. Regardless, the ending's got power, and it stuck with me and rattled in my head for a long time after I'd finished the movie and worked on getting to sleep. It's just astonishing.
This is the lone best picture nominee that I hadn't even heard of before the Academy Awards which, in my mind, made it a sort of dark horse. Now, it's the type of film I want to tell everybody about. I want to stand on Paul Reiser's shoulders and shout at random strangers to grab this from their nearest Redbox or Blockbuster Video store and watch it immediately. And when you do watch it, don't watch it for the narrative. Watch it as a dark contemporary fable. There's a narrative there, of course, but you could almost argue that it's got some storytelling issues. Ignore those, figure out what the pair of characters at the center of this symbolize, and then start pondering all the questions that this film brings up. It's an experience. I don't think it would work without the two absolutely terrific performances director Damien Chazelle got from his actors. With J. K. Simmons' Fletcher, you get somebody who is simultaneously very human and the most monstrous example of humanity that you're likely to see on a screen. His wrinkles do a lot of the acting for him, that and his scary bald head, and although this is the kind of powerful performance where he's cheating to achieve that power because he spends the majority of the movie screaming, it's the most convincing screaming I've heard in a movie in a really long time. Lines like "Get the fuck out of my sight before I demolish you" seem a little cartoonish when you read them, but here, it's convincing. And when he screams "You are a worthless, friendless, faggot-lipped little piece of shit whose mommy left daddy when she figured out he wasn't Eugene O'Neill, and who is now weeping and slobbering all over my drum set like a fucking nine-year old girl! So for the final, father-fucking time, say it louder!" you're actually convinced that a real mean guy is saying those really mean words even though part of you knows that nobody could ever say that. Of course, my favorite Simmons' line here is one that either sounded like a mistake or that I just didn't hear correctly: "If you deliberately sabotage my band, I will fuck you like a pig." Maybe Simmons had watched Deliverance the night before. And then there's Miles Teller who inexplicably wasn't nominated for his performance as Andrew in this. I liked Teller in The Spectacular Now, a movie that I didn't like, but I really really really liked him here. His character spends a lot of this movie in pain; he sweats and he bleeds and he screams into a future that only a small percentage of human beings can even fathom. And you just feel like Teller worked so hard with this character, probably screamed, bled, and sweated just like his character. I got exhausted watching Teller. Both Simmons and Teller had to train musically for these parts, and there was never a time I didn't completely buy that Teller was the fantastic drumming machine his character was supposed to be or that Simmons wasn't the mad conductor that he was supposed to be. However, as much as I liked these performances and the way these characters clashed with each other, I want to point out that neither character was likable. But it doesn't matter when the characters are metaphors anyway, and the look in their eyes during their final moments in this movie? Oh, man, it doesn't even matter if you like the characters because you're going to feel something there.
This movie is completely captivating, the kind of movie that you can't absorb because it's actually absorbing you. It's also a work of art that has a lot to say about the human condition, motivation, resilience, balance, legacy, sacrifice, relationship. A knock out.
This is an electric movie and is in my top two or three from last year. The acting is incredible, and the dramatic conflict that builds and builds to the great ending is riveting. My favorite thing though, and the thing that really makes the movie even more special are those questions it asks the viewer to debate. Is genius really important? How far is too far to achieve true, immortal greatness? Where is the line of abuse between teacher and student? "Whiplash" is a great movie that has weight, and sadly it will never get the audience it so richly deserves. Also a 17, but that could go higher over time.
ReplyDeleteMaybe my second favorite movie of last year. I'd have to put more thought into it than I just did. And I would want to wait to see American Sniper before deciding.
ReplyDeleteI hate it when people say that there are no more great movies being made out there. This is certainly one of them. Great leading man. Teller was natural (his scarred face seem to stick out to me). He was subtle and agreeable when he needed to be and aggressive and visceral when he needed to be. Though, at times, it was hard to tell when e was playing the drums with all his might or if he was furiously masturbating. Anyway, Teller really surprised me in this. Obviously JK Simmons was brilliant -- no surprise there. I went into this with high expectations, and he didn't disappoint. Those human touches that the script did with Simmons's character kept me guessing. I couldn't figure out where they were going with Fletcher, and just like Andrew, I was curious about the character's motives.
ReplyDeleteThe directing was the equivalence of discovering your new favorite music for the first time. Remember the first time you heard ________ for the first time? The directing is this reminded me of Scorseses signatures. There were closeups on all the right things: pushing hair behind a girls ear, sticks to the snare, footsteps... Instead of seeing a person walk into a room, show their footsteos. Are they intimidating? Flustered? Relaxed? That's such a creative way to show characterization and set a tone. The last scene of the movie seems pretty straight forward. Fletcher tries to get in one last blow by throwing Andrew off his game thus embarrassing him in front of talent scouts. But that's not the end. That's the tipping point before the climax. Andrew's been screwed by fletcher before (should I say "porked" since he may have been fucked like a pig??)... The ending is that Andrew redeems himself by not only nailing the double-time swing, but he ends up leading the band. Fletchef capitulates. Andrews enemy becomes his ally as he able to not only finish his triumphant solo, but take lead and have the spot light shown on him. The point of Andrew going back is that "Charlie Pride doesnt get discouraged." He never gives up. Therefore, we must assume that even if this hadn't gone well, andrew would still be pursuing the drummer's dream. Fletcher had the upper hand all the way until that last Caravan number. And what a great scene that was. It was shot musically. Every staccato jump cut...every sweeping camera movement with the swelling of the music....every pan to encompass the full band just so the audience can soak up the music audibly and visually.
This movie did a lot thematically. The literal blood and sweat was ripe for metaphor, so Im assuming most caught on to all that. Also, I will say that this movie gets a pass for music not matching the visuals. Some parts were spot on, others obviously weren't. But, I have zero complaints about what I was seeing and hearing. Enticing, exhilarating, frustrating, suspenseful, and more and more feelings poured out of this film...18/20
This movie did a lot.
Finally! I knew you'd like this; I just wasn't sure how much.
ReplyDeleteThere's a chance that I'd watch it again and pick up the music errors or timing issues or whatever. I don't know if I'd care. I agree about that last scene. You're word choice--"shot musically"--is exactly right.
Furiously masturbating, eh?