Whiplash - 4 smiles

“Whiplash” is about obsession and compulsion. It’s about what happens when too much importance is placed on greatness and when the goal of achieving it overshadows everything else. It twists the mentor/student relationship in ugly ways and focuses on the test of wills that develop between characters brilliantly portrayed by Miles Teller and J.K. Simmons. And although Simmons plays the more showy and complex character, a master manipulator, Teller’s ambitious but naïve drummer is no less powerfully portrayed. The story is not new: a student is challenged to achieve his full potential by a teacher. But this is no feel-good, audience-pleasing experience. “Whiplash” is more complex and at times hard to watch. Simmons’ Terence Fletcher’s goal of inspiring his students to reach their potential is achieved through bullying and sadism. He offers scorn instead of praise. He is a cruel taskmaster whose end-justifies-the-means mantra makes him the terrifying instructor everyone fears. His latest protégé at the exclusive music school where he works is talented jazz drummer Andrew Neiman (Teller), whose personal drive for greatness feeds the unhealthy relationship that develops between the two.

Beyond the war between teacher and student, this movie is also a celebration of traditional jazz. When Andrew grabs his sticks and the band launches into a standard, like Hank Levy’s Whiplash, it’s hard not to tap your toes. (Teller was a drummer as a kid and does all the character’s playing so director Damien Chazelle doesn’t have to hide his hands.) At times you wonder whether Andrew does need aggressive pushing to excel. Andrew’s father (Paul Reiser) is a mild presence, a man who watches black-and-white movies and sprinkles Raisinets on his popcorn. He loves Andrew unconditionally so he’s not the one to compel Andrew to reach beyond himself. It takes a monster to do that and Simmons is just about perfect. Anyone who sees “Whiplash” will remember Simmons’ name come Oscar nomination time. The end will spark debate over whether Chazelle is vindicating Fletcher’s methods, suggesting that only a harsh taskmaster can push Andrew to the next level. Maybe. Chazelle is certainly leaving that open to interpretation. 11/2014