Tag Archives: damien chazelle

‘Whiplash’ a solid rumination on teacher-student dynamic

Anyone who has ever been in a band or orchestra has had ‘that conductor.’ The conductor who gets up in your face and screams. The teacher who berates and curses you. The perfectionist who pushes you to the brink of your sanity with the incessant demanding.

Whiplash is all about that teacher. His name is Fletcher, played by Oscar-winning actor J.K. Simmons, and his pupil, Andrew (Miles Teller), has no idea what he is up against. Andrew wants to be one of the greats, a jazz drummer. Accepted into a prestigious music conservatory, Fletcher finds him and recruits him to his own personal class. He then proceeds to break the boy down piece by piece.

“My tempo! My tempo!” he cries as the chairs go flying.

He slaps Andrew in the face, pushing him to play on and on until his drumming hands are coarse with blood. He gets into his head, screaming at him, calling his father a wash-out writer and his own future a joke.

And rather than quit and give up on the dream, Andrew pushes himself harder and harder, past the breaking point.

The film is a classic example of an unstoppable force versus an immovable object. Fletcher’s demands are so unreasonable that it is impossible to meet them, while Andrew’s determination to be the best can not be matched. Who will win? The viewer ends up asking themselves if both characters are simply crazy, but at the same point in time, is that craziness good or bad?

Fletcher relates a story repeatedly throughout the film of Charlie Parker and how his drummer, Jo Jones, once threw a cymbal at his head after he screwed up during a piece. Terrified, Parker would practice for hours on end until he became one of the all-time greats. Do we condemn Jones, and in essence Fletcher, therefore for being excessively harsh, or is that simply the way that you create great art?

The film wrestles with this question as Andrew’s family begs him to stop for his own well-being while he pushes himself past the limits most of us would dare go. Fletcher tells him he is sick and tired of the “everyone gets a trophy” mentality, and that the worst words in the English language are “good job.”

Would Parker have become one of the greats if he wasn’t pushed past his limits? Is greatness something that can be squeezed out of someone, something they couldn’t find without that temperament?

J.K. Simmons is fantastic in the career-defining role of Fletcher, and Teller similarly deserves kudos for matching the intensity of Simmons. The film focuses nearly exclusively on them, and we are placed right in the crux of the action. The editing, sound and cinematography are all top notch and really add to the battlefield-like atmosphere the film presents, a tribute to writer-director Damien Chazalle’s vision (he had previously made a short film of the story to build up funding for a feature).

The film falls into unbelievability in several instances though, such as when Andrew gets into a car accident and keeps going. It keeps things from being taken too seriously by going to the extreme and diminishes some of the film’s power.

Rather than just being a story about teacher and pupil, this is a film about the ethics of teaching and the duties of students, an examination of a “world gone soft” and a question of how one achieves greatness. It gives us so much more than most films ever try to achieve.

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Oscar Predictions 2017

Best Picture

  • Hidden Figures
    • Going for the upset here. I’m thinking politics will ultimately win out over heart.

Best Director

  • Damien Chazelle, “La La Land”
    • He’s won the DGA. That usually leads to success.

Best Actor

  • Casey Affleck, Manchester by the Sea”
    • Denzel has already won, and that might be enough for Affleck to sneak a win.

Best Actress

  • Emma Stone, “La La Land”
    • She’s won everything. This is the easiest category of the night.

Best Supporting Actor

  • Mahershala Ali, “Moonlight”
    • He’s won the SAG and is the favorite.

Best Supporting Actress

  • Viola Davis, “Fences”
    • She also won the SAG and has no real competition.

Best Adapted Screenplay

  • Moonlight
    • Any of the nominees could realistically win. “Moonlight” might win by a hair.

Best Original Screenplay

  • Manchester by the Sea
    • It’s seen as a writer’s film, but watch out for La La Land if it sweeps.

Best Animated Film

  • Kubo and the Two Strings
    • “Zootopia” should put up a fight, but the beauty of the animation of “Kubo” might sway the voters.

Best Cinematography

  • La La Land
    • Alternative: Arrival

Best Costume Design

  • Jackie
    • Alternative: Florence Foster Jenkins

Best Documentary

  • OJ: Made in America
    • Alternative: I Am Not Your Negro

Best Documentary Short Subject

  • The White Helmets
    • Alternative: Watani: My Homeland

Best Editing

  • Arrival
    • Alternative: La La Land

Best Foreign Language Film

  • The Salesman
    • Alternative: Toni Erdmann

Best Makeup

  • Star Trek Beyond
    • Alternative: A Man Called Ove

Best Original Score

  • La La Land
    • Alternative: Lion

Best Original Song

  • “City of Stars”, from “La La Land”
    • Alternative: “How Far I’ll Go”, from “Moana”

Best Production Design

  • Arrival
    • Alternative: La La Land

Best Animated Short Film

  • Piper
    • Alternative: Pearl

Best Live Action Short

  • Timecode
    • Alternative: La Femme et le TVG

Best Sound Editing

  • Arrival
    • Alternative: Hacksaw Ridge

Best Sound Mixing

  • La La Land
    • Alternative: Arrival

Best Visual Effects

  • The Jungle Book
    • Alternative: Doctor Strange

‘La La Land’ an enjoyable love story

Directed and written by Damien Chazelle, ‘La La Land’ tells the story of Sebastian (Ryan Gosling) and Mia (Emma Stone), two dreamers living in Los Angeles, one looking for fame as a jazz musician, the other as an actress. As they meet and fall in love, their passions for fame and artistic brilliance threaten to tear them apart.

It is an incredibly well-made film, utilizing dramatic camera movements, a full color palette and strong performances to tell its story. Emma Stone’s huge blue eyes have never been used more effectively.

The music is not all that memorable, but it doesn’t necessarily need to be either. It stands as more of a metaphor for how the characters (as dreamers) view the world: full of love and possibility, a poem from the heart. It is both sad and happy, full of longing, hope and regret.

Much like his previous film “Whiplash” though, there’s something about Chazelle’s work that feels just a tad off. It doesn’t stick with you as much as it should. Perhaps it’s a case of style over substance. Perhaps because his characters are not wholly developed, more archetypes than fully fleshed out. Perhaps the stakes are not deep enough, the forces confronting both characters not crafted well enough to understand the character’s plights.

Regardless, “La La Land” is an enjoyable ride, full of great little moments and great visuals. Experience it for yourself and see what you take away from it.