Art and competition

Sydney 2022-03-20 09:01:08

There are many reasons not to like this film. The fundamental one is: if jazz is regarded as art, then the understanding of jazz genius in this film is superficial. Even the understanding of jazz is dogmatic, and the theory of genius in competitive sports has replaced the broad and flexible aesthetic of art.
Since this understanding is the root of the demons and entanglements of the characters in the film, it is also the bottom layer of the core of the whole story, so...At the end, the behavior of the teenager is a little bit interesting, but I personally think that it is almost "enlightenment". Meaning, so the entangled and distorted character creation in the film failed to achieve the integrity of the entire film.

The ending is terrible.

If music can't bring joy and passion, can't fully demonstrate freedom and uninhibitedness, but is like taking poison for the purpose of practicing magic, then music education will not cultivate talents, but medicine people.


The genius in my personal understanding is not fast, slow, or even accurate, but breaking the rules and creating, it is an extraordinary understanding of life and attitudes to life. I am not opposed to technology, but I agree more with creative technology.

There was a drummer friend who thought he was not crazy, he practiced in the drum room to the point of seeing a psychologist. He gave me the impression that he was extremely sensitive to the evaluation of his drum skills by others; he was extremely sensitive to the masters. Kneeling three knees and nine knocks, desperate for success; he was too tired, like an old man in a study, chanting "realm" and "inspiration" all day long without any signs of life on his face.

I really want to tell him, don't fucking go climbing, you are already on the mountain, stop and take a look.

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Extended Reading
  • Moshe 2022-03-24 09:01:09

    The filming was very ambiguous, and there was no one beside it to build a corner for the devil and Christ to sleep together. The devil tempted Christ from stone to bread. The cultivation of the body, the struggle of the spirit, and the almost pathological interaction between teachers and students, both from the play and editing, are pressed into the rhythm to achieve a double resonance and enjoy a hearty view. The confrontation between masters is like this, the real anti-inspirational, never surging undercurrents, always showing the edge.

  • Frieda 2021-10-20 18:59:25

    Burn! burst! NS! I believe that everyone who has practiced a musical instrument or has sweated in artistic performances can find a deep resonance. The kind of respect and fear of the Yan teacher, who wants to draw their energy but feels the suffocation of being forced to a cliff, wants to be Technically perfect, even a little more perfect, I find that the music is far more than these surprises and fears... The film is like the jazz in it, it is the crystallization of blood and sweat from the adrenaline burst. It is imperfect but irreplaceable.

Whiplash quotes

  • Terence Fletcher: I don't think people understood what it was I was doing at Shaffer. I wasn't there to conduct. Any fucking moron can wave his arms and keep people in tempo. I was there to push people beyond what's expected of them. I believe that is... an absolute necessity. Otherwise, we're depriving the world of the next Louis Armstrong. The next Charlie Parker. I told you that story about how Charlie Parker became Charlie Parker, right?

    Andrew: Jo Jones threw a cymbal at his head.

    Terence Fletcher: Exactly. Parker's a young kid, pretty good on the sax. Gets up to play at a cutting session, and he fucks it up. And Jones nearly decapitates him for it. And he's laughed off-stage. Cries himself to sleep that night, but the next morning, what does he do? He practices. And he practices and he practices with one goal in mind, never to be laughed at again. And a year later, he goes back to the Reno and he steps up on that stage, and plays the best motherfucking solo the world has ever heard. So imagine if Jones had just said, "Well, that's okay, Charlie. That was all right. Good job." And then Charlie thinks to himself, "Well, shit, I did do a pretty good job." End of story. No Bird. That, to me, is an absolute tragedy. But that's just what the world wants now. People wonder why jazz is dying.

  • Terence Fletcher: Everybody remember, Lincoln Center and its ilk use these competitions to decide who they are interested in and who they are not. And I am not gonna have my reputation in that department tarnished by a bunch of fucking limp-dick, sour-note, flatter-than-their-girlfriends, flexible-tempo dipshits. Got it?