By Max Wallace
How far would you push yourself to achieve greatness? This is the dilemma that “Whiplash” challenges viewers to answer, and in addition to challenging contemporary America’s acceptance of mediocrity, the film is phenomenally entertaining. Sharp editing, smart dialogue and career best performances combine to make “Whiplash” one of the crowning cinematic achievements of 2014.
“Whiplash” draws its name from the title of a Hank Levy jazz composition. The film is set in a prestigious music conservatory and follows a first year student drummer Andrew Neiman (Miles Teller) as he attempts to hone his craft and win the respect of a tyrannical instructor Terrence Fletcher (J.K. Simmons). Neiman’s quest for excellence is marked by blood, sweat and tears, all indifferently inflicted by a teacher who insists that he is honing students’ talents rather than abusing them. And although it literally nearly costs him his life, when Neiman finally delivers a titanic performance at the close of the film, it rests with the audience to decide whether Fletcher is truly a monster or his unflinching demands for excellence are justified.
Although the story is compelling on its own merits, the technical aspects of production are where “Whiplash” truly shines. The editing and sound mixing are impressive and truly deserving of their Oscar nominations (the film’s final minutes are marked by a masterful drum solo where the camera captures the culmination of Neiman’s efforts). However, top notch writing and acting is what anchors the film. The dialogue is always whip-sharp, never more so than when Fletcher is hurling individually crafted insults at his students. Teller, perhaps best known for party comedies “Project X” and “21 & Over” is finally given a chance to showcase his abilities with a solid script, and he doesn’t disappoint. However, the true standout performance is delivered by Simmons, an actor best known for playing Peter Parker’s fearsome editor J. Jonah Jameson in the original “Spiderman” series.
Simmons is truly an unstoppable force onscreen, instantly transforming from a steely calm that paralyzes his students with fear to caustic rage that hurls forth both insults and nearby band instruments at terrified musicians. Fletcher is portrayed as a force of nature that likely inflicts lasting psychological harm on those fortunate enough to suffer under his tutelage. However, the true depth of Simmons’ performance is showcased in other aspects of the character’s personality. When he finally explains his actions, it is made clear that Fletcher doesn’t see himself as a monster, but as the only person willing to push his students to achieve their absolute best and realize greatness. As Simmons sorrowfully delivers the line “There are no two words in the English language more harmful than ‘good job’”, the true magnitude of his performance is driven home. And in the closing moments of the film, when the boy he has tried so hard to destroy realizes his potential and accomplishes what none of his other students could, Fletcher’s face is contorted not in anger or disgust, but pride, and that’s why Simmons is going home with an Oscar this weekend.
“Whiplash” is one of the most entertaining films of the year. But it is also more than that. Like any good Oscar movie, it leaves the audience asking questions. To what extent do the ends justify the means? Is monstrous behavior validated if it is the only way to achieve true success? How much should be sacrificed to achieve greatness? And what of ourselves? How often do we settle for “good job” and what would we truly be capable of if we pursued our goals with single-minded dedication? This is the key to “Whiplash’s” greatness. The music, story and acting are all spectacular, but when you leave the theater, you’re not just entertained, you’re asking questions.
