All That Jazz

At once both a wonderfully subversive character study and showcase for two of the best American film actors currently working, “Whiplash” packs more darkly kinetic energy than any other film of 2014.   Andrew Neyman (Miles Teller) is a young and talented jazz drummer attending an elite music conservatory in NY while aspiring to be one of the great musicians similar to the likes of a Charley Parker or Buddy Rich. He’s delighted to get the attention of head instructor Terence Fletcher (JK Simmons) who picks Andrew out of a rehearsal to come join his band of players. But only then does Andrew realize that such a blessing could be a curse once Fletcher begins to abuse his pupil, both emotionally and physically, in order to mold him into the formidable talent he knows he can be. Or does Fletcher rather want to destroy this young man brimming with not only vast musical talent, but bravado to match.

It’s a testament to Simmons incredible mood manipulating performance that we never really know. Sporting a bald head, bulging eyes and imposing muscular frame this ever reliable character actor has never been handed a role so ferocious and he tears into it like a rabid beast. Fletcher is prone to spewing out clever, quote-worthy barrages of profanity and insults to rival R. Lee Ermey’s drill sergeant in Kubrick’s “Full Metal Jacket” to break his students down and it’s here where Simmons really shines.   “Why would you hand your folder to Neyman...that’s like handing a retard a calculator....you know he’ll just try and turn on a tv with it” being a choice favorite of mine.

And Teller, the indie darling who impressed in dramatic showcases including “Rabbit Hole” and “The Spectacular Now”, meets him head on with a less showy but just as committed lead performance. Andrew’s passion for drumming shifts into an unhealthy obsession under Fletcher’s coaching and we’re aware of the toll that’s being taken in Teller’s every haunted glance and gesture. It’s a vibrant, lived-in bit of acting made all the more convincing by the actual drumming segments.  Teller did most of it due to his own drummers background accompanied by months of diligent prep.

Director, Damien Chazelle, who adapted his feature film from the short he wrote, keeps the camera close to every drop of blood, sweat and tears that fall onto the drum sets pulling the audience into the frenzied urgency that surrounds the battle of wills between our two leads. Jazz is the way of life for both Fletcher and Andrew and whenever Simmons and Teller lock horns “Whiplash” boils over with an intensity that defies convention.

It reminds us that we have control of our pursuit of greatness. And that the ultimate control in jazz is knowing when to let go of it.