CHICAGO – Excelsior! Comic book legend Stan Lee’s famous exclamation puts a fine point on the third and final play of Mark Pracht’s FOUR COLOR TRILOGY, “The House of Ideas,” presented by and staged at City Lit Theater in Chicago’s Edgewater neighborhood. For tickets/details, click HOUSE OF IDEAS.
‘Whiplash’ Finds a Big Rhythm, Gives it a Backbeat
Rating: 5.0/5.0 |
CHICAGO – When is the last time you had a bit of sweat after coming out of a movie? “Whiplash” will do that, and it contains not one action sequence or superhero, unless you consider J.K. Simmons as a sociopathic music guru a hero (he is in a way), and drumming as action (it is).
“Whiplash” is wham-bam-thank-you-Sam, a spectacular melding of passionate musicians and the mentors that get them there – think “Paper Chase” meets The Julliard School. The face off between a once-in-a-lifetime jazz drumming prodigy and the teacher who is hoping to mold his excellence succeeds not because of what is expected out of such a story, but what happens psychologically around it. It is a test of wills, and a testament to the ability of a human being to recognize their special talent and take it all the way to the top. Who gets him there and how becomes a combination of outright sadism by the instructor and what the drummer can learn about himself. This is a freaking great movie and piece of fiery jazz music entertainment.
Andrew (Miles Teller) is a throwback, an intense drummer who takes his cues from the legendary jazzman Buddy Rich, rather than anybody in his era. He gets into one of the most prestigious music schools in the country, and while practicing some licks he gets noticed by the top jazz instructor at the school, Fletcher (J.K. Simmons). He asks Andrew to join the jazz band there, one of the top student groups in the nation.
Fletcher (J.K. Simmons) Lays His Tracks in ‘Whiplash’
Photo credit: Sony Pictures Classics
This begins a vicious indoctrination, as Fletcher uses physical and psychological games to break Andrew and bring him to another side of excellence. The exacting standards are known only to Fletcher, and the cat-and-mouse destruction and rebuilding worries Andrew’s Dad Jim (Paul Reiser) and a potential romantic connection named Nicole (Melissa Benoist). Will this jazz drummer become THE jazz drummer?
The trip that Andrew wants to take is so fascinating. The top people in any profession sit on the edge of a knife, dealing both with the competition around them and their own determination. The concentration, the personality of steel that is necessary to get to that rarefied air consumes every moment, and sacrifices everything else. To experience this character go through all of this in 106 pulse pounding minutes is a sensory blessing.
The writer/director Damien Chazelle is a find, having scored his first feature film with a Orson Welles-like debut. This is not to say it’s “Citizen Kane,’ but it is a representation of a fresh new voice for the cinema arts, a kid who is not afraid to use the camera and effects in what Welles called “the best train set a boy could ever have.” Chazelle’s camera movement is original, and advances the pacing of the story appropriate to the rhythms of a frenzied jazz score.
The teacher versus student dynamic hasn’t been explored this insistently in awhile, and it’s virtuoso. Aside from some ham-handed pop culture references, J.K. Simmons Fletcher is a tightly wound ball of insanity, switching motivation strategies at the touch of a hi-hat, if only to get one more ounce of talent from Miles Teller’s Andrew. Teller did his own drumming, and strove to get the vacant look right, that combination of urgency and f-you that defines the master/student dynamic.
Andrew (Miles Teller) Brings the Jazz in ‘Whiplash’
Photo credit: Sony Pictures Classics
“Whiplash” also plays into basic rhythms, the natural beat that resides in our souls. There are many moments of drumming that connects to the heartbeat, and causes that aforementioned sweat. The final crescendo is everything a last act in a quasi-musical should be, a moment of truth and triumph.
This is one of those rare films that is a heart project, and Damien Chazelle’s path to production was mostly likely as exceptional as his jazzy character. “Whiplash” speaks from the soul of poet and the rhythm of the saints.
By PATRICK McDONALD |