Damien Chazelle presents his latest directorial effort, a dazzlingly smart and triumphant musical protégé drama, reinforced by two incredible awards-worthy performances. Scott Gentry reviews "Whiplash".

"Whiplash" (15)
Directed by: Damien Chazelle.
Starring: Miles Teller, J.K. Simmons, Paul Reiser, Mellissa Benoist and Austin Stowell.
Rated: '15' for containing very strong language and strong sex references.
Running time: 106 minutes.
Released in UK cinemas from the 16th of January, 2015.

Three months ago, I was fortunate enough to catch "Whiplash" at the London Film Festival, and since then it has been released in America to critical acclaim, received a Golden Globe for best supporting actor (going to J.K. Simmons) and many other nominations. But despite the time which has elapsed since my inspiring and intoxicating viewing, I've only become far more eager to see this visually arresting piece again. "Whiplash" (believe it or not) is what cinema's all about. It's a film with heart, and as James King (a fellow Film critic) so rightly said, the film is "so good, it'll change the way you look at life".  

Miles teller (a long way from the depths of "Divergent") is Andrew Neyman, our cocksure, jazz drumming antagonist, who through his accomplished way with a pair of sticks, drums like a young Buddy Rich. Whilst determined in his pursuit of stardom to become "one of the greats", he is surprisingly accepted into the Shaffer Conservatory, a prestigious music school, highly regarded as the best in the United States. Shortly after joining the infectiously competitive school, Andrew is introduced into the class of the school's most feared and respected tutor (who's methods may gain success, but are ultimately questionable), Terence Fletcher (J.K. Simmons), the one person who stands in his way of achieving virtuosity. But as Andrew endeavours to succeed, his social life and sanity begins to crumble, with the relationships between his family and friend Nicole (Melissa Benoist), suffering under his inextinguishable thirst for success. So, Andrew is posed with a question: love, or greatness? 

There have been many outstanding renditions of (mentally and physically) tortured musicians in modern cinema (“Crazy Heart” and “Walk the Line” are excellent examples), but “Whiplash” achieves a sense of compassion for cinematic characters like never before. Here we are placed in the shoes of a sanguine, yet ultimately impolite character, who, by all rights, shouldn’t be rooted for by the audience, and still, we feel compelled to care for Andrew. But, who really should we attach ourselves to in “Whiplash”? Our two main characters are both as socially incompetent as each other; not fit for society. But through their wonderfully crafted personalities, we are drawn to discovering their ambitions whatever the events on-screen. Originally based upon his own short film, but rewritten here, its Chazelle’s creation of these two perplexing characters, and their subsequent rivalry, which conclusively anchors this attention-grabbing piece. The story itself may seem simplistic, but Chazelle has crafted tense and bitter entertainment effortlessly, providing edge-of-your-seat thrills without the need for gratuitous violence. It’s the shocking revelations of the plot, which really took my breath away.

Previously, Teller wouldn’t have been my idea of a lead actor, but after this scintillatingly intense performance, my opinion was instantly denounced. Teller is evidently talented, and throughout this roller-coaster ride of emotions, he commands the screen from start to finish with a sincerely impassioned performance, which works particularly well in regards to the psychological aspects of the character, even when Andrew’s pretentious persona wears thin under pressure. Simmons himself returns in full J. Jonah Jameson mode to present a fearsomely daring performance, filled with delightfully dark comedy ("Oh my dear God. Are you one of those single tear people?") which he excels in, as a sort of updated answer to Stanley Kubrick's horrific creation, Sergeant Hartman, as he bellows heinous taunts towards his unwitting students and employs draconian tactics into rehearsals, intent on creating an orchestra of military precision. It's a gruelling experience, and Simmons revels in the role, deceiving students with courteous words in one moment, and destroying their very dream the next. It's honestly both captivating and petrifying.

A new-comer to cinema, yet instantly memorable, Mellissa Benoist also provides exceptional support as Andrew's will they/won't they interest, especially in the heart-warming scenes in which he visits the local multiplex, and attempts to woo her affections. Chazelle's dialogue delightfully sizzles between the pair, creating one of the most authentic on-screen romances in years. 

Verdict

The film is faultless, and along with Sharone Meir's glossy cinematography, Justin Hurwitz's exhilarating score and inspired editing by Tom Cross, Chazelle's love-letter to cinema and Jazz is a supremely well-acted and enthralling drama, which has successfully reinvented the protégé musician sub-genre. Cinematic perfection. 

10 stars out of 10

Written by Scott Gentry.

Film/TV Rating Key

1-2 stars out of ten = Awful.

3-4 stars out of ten = Average.

5-6 stars out of ten = Good.

7-8 stars out of ten = Excellent.

9-10 stars out of ten = Amazing.

Trailer

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