Sunday afternoon, in the warm, dark cocoon of a movie theatre—my husband working, the rest of the immediate universe watching the Superbowl—I saw a powerful, brilliant film. One of the best I’ve seen.
Whiplash, directed by Damien Chazelle, is a small-budget marvel that brings home the power of story, reminding us how few bells and whistles are needed to rivet an audience. A simple plot, a clear theme, a setting that inhabits the characters, but doesn’t draw attention away from them. A story driven by the will and force of its characters. Characters you cannot turn your mind away from.
Andrew (Miles Teller), a freshman at a fictionalized New York music conservatory, is a gifted, introverted jazz drummer who goes to movies with his dad (Paul Reiser) and stares longingly at the pretty girl who serves him up a bucket of popcorn (Melissa Benoist). Andrew’s talent catches the ear of the school’s reining jazz God, Terence Fletcher (J.K. Simmons), and he’s invited to join Fletcher’s studio band. Studio band is the school’s most prestigious—the one that wins competitions and makes or breaks careers. What follows is an emotional thriller that is as taut as the skin stretched over a drum.
It’s been twenty years since I’ve reacted so viscerally to a movie (The English Patient. It still destroys me. Oh, that movie.) At one point, I felt a hot, woozy wave wash over me and I feared I’d either faint or vomit. I dropped my feet from the seat—I’d been curled in a tight ball of tension—and slid them back into my tennis shoes, preparing to flee if need be. That’s how wrenched and gutted and caught up in this story I’d become.
It’s facile fun to get lost in a fast-paced nail-biter, to fall over the edge into a cliffhanger, yet I don’t read many thrillers. But that’s not what I’m talking about here—the power of Whiplash isn’t in hitting the conventional story arcs at the right times; it’s in the profound dynamic between Andrew and Fletcher, a story that shoves aside all unnecessary filler and fluff to drive right at the heart with searing emotion and at the intellect with questions of ethics and the cult of personality.
One theme: power. Arguably, how hard one is willing to work for a dream could be another, but I find that trite. This movie is about power. Two characters. A limited range of settings used to stunning effect. A tightly-plotted script. Realistic, unaffected, loose dialogue from one character; a calculated cascade of abuse or soothing manipulation from another. A story that is largely autobiographical, from a director and screenwriter working out his own rage and hurt. He isn’t showing us what he knows, Chazelle is showing us what he feels. He lets the characters work out what they know, or what they convince themselves of. A denouement that releases you into a false sense of relief, before electrifying you with an ending that offers both redemption and ambiguity. It is storytelling perfection.
As a viewer, I was captivated. Twisted into knots. Gutted. Exhausted. As a writer, I was all, THIS. THIS is how it’s done.