Whiplash

“There are no two words in the English language more harmful than good job.” (Terence Fletcher, Whiplash)

Whiplash, directed by Damien Chazelle, is an Oscar nominated film about drummer Andrew Neiman (Miles Teller) who enrolls in at a cut throat music conservatory to be mentored by Terence Fletcher (J. K. Simmons) – a sadistic mentor who will stop at nothing to discover his students’ potential. The intriguing idea in this film – the idea that drew me towards it – is the complexity that underlies the simplicity of the plot. The plot is coupled with an extended parallel between the two main characters (mentor and student) as well as specific stylistic choices in cinematography that are integral in showcasing the theme and underlying meaning within this piece of work.

All the choices made in this film are done with significant reason. This is why I always find it so important to focus on the beginning of such a film, as it is often an indicator of what the remainder of the film will be. In this film, we are introduced to our main character, Andrew, in a narrow space presented through a long

shot, a hallway with low-key lighting that appears to be suffocating the viewer. The camera moves on a dolly and slowly zooms in towards the room in which Andrew is drumming in and the diegetic drum sounds are hard to escape. This appears to be a common theme, not only in the beginning of the film, but through the remainder of Andrew’s drumming experience. The room in which Andrew locks himself up in at night is small, dimly lit, and enclosed – instilling the sensation of being trapped and enclosed within an area. Similarly, the director chooses to introduce Andrew in this way to the audience so that we automatically signify this late night practice with Andrew’s dedication as well as his obsession with his ambitions of greatness.

The most important component of this film is the relationship between Andrew and Fletcher. The relationship is peculiarly captivating – it’s fascinating to see these two interact. We find that Andrew admires Fletcher albeit the abuse he must put himself through to gain Fletcher’s approval. Simultaneously, Fletcher has sensed something special in Andrew and relishes using every dreadful tactic he can to push Andrew to the very brink and test Andrew to the very last second. Cinematic elements play an enormous role in establishing this relationship, most prominently through camera shots and movement, editing, lighting, and sound.

  

The most significant feature in the film is the use of close-ups to convey how each of the characters are feeling within particular situations. The most notable moments are seen through the various eyeline matches the director employs in order to let the audience understand how Fletcher and Andrew are feeling in response to the other. By using close-ups in these scenes, we ourselves experience the traumatic psychological and physical pain Andrew undergoes in his attempts to combat his own mentor. Furthermore, we cannot forget the furrowed brows and lingering glare that defines Fletcher’s ruthless attitude. By providing us with a series of eyeline matches and close-ups throughout the film (specifically when these two characters interact), we not only characterize the characters, but learn to connect with them as if we are sitting there in the same room.

Lighting and sound are also significant to the development that occurs in the film. Oftentimes, when Andrew is practicing, there is very low-key lighting that is presented through bottom and side lighting. These sources of light often indicate morally unclear characters – a perfect description of Andrew, who struggles with choosing the correct strategy to gain what he desires. It is interesting to note that this same sort of lighting is often used with Fletcher as well, such as the final performance in which he purposely makes a fool of Andrew. Both characters are morally unclear and choose to execute some questionable decisions, but that is exactly what the director wants to relay to the audience. Both characters are here to achieve a unique and perfect level of musical excellence. Most prominently, sound is key to this film as the diegetic sound is vital in relating the mood of the film as well as the emotional states of the characters themselves. When Andrew is playing the piece in the beginning, the sounds resemble a drumroll, and we are waiting for the climax, for something to go wrong and for Fletcher to get angry again. When Andrew is angry and confused, it is often evident through his fast paced and almost chaotic drumming practice sessions.

My favorite part of this film was the ending – which was the moment at which I realized that this film was a true masterpiece. We finally see Andrew and Fletcher on the same stage – Fletcher conducting and Andrew stuck in a situation in which he must make a life-changing decision. When Andrew makes the decision to keep playing amidst the chaos, the director focalizes the camera to an authorial point of view in which he makes it a point to use extreme-close-ups on Andrew’s sweating face, his bleeding hands, and the sound of the drum that cut so sharply at our ears. 

                         

In this moment we realize that Andrew and Fletcher are mere images of the other – Neiman seeks to find musical excellence with his percussive skills and tireless dedication, and Fletcher does so as a maniacal mentor who demands perfection. Through their shared stubbornness and unwavering desires to pursue their love of music and achievement – they realize (as significant through Fletcher’s final nod of approval to Andrew) that they are truly equals.

“I was there to push people beyond what's expected of them. I believe that's an absolute necessity.” (Terence Fletcher, Whiplash)