Just please don't mistake this story for reality...

Amely 2022-04-20 09:01:06

Supplementary score, a good story in the secular sense. But I think the most important thing to say is this: this film is not realism, but a secret and refined romanticism. (This is probably why it is easy to understand why this film will be marked with an inspirational tag). If you need a little "hard proof" that the story isn't realistic, check out a video of it by Adam Neely, the biggest music science YouTuber. What I'm going to say is some "empty talk" that's closer to something like story value.

When we encounter difficulties, we need to grit our teeth and persevere when we need to survive, and we need invincible willpower. This is of course. But life isn't all hardships, and music doesn't really matter if that's the case. It is a simple and romantic imagining to think of life as all dilemmas. It is true that success requires willpower and hard work, but too much focus on willpower under high pressure and breaking through difficult situations is a distortion, which is reflected in the soul character Fletcher, as well as in the protagonist. Music in reality requires more training that is not so extreme but requires more long-term patience. In reality, the music business does not have NBA-style rookie selection, but requires you to seize the opportunity to express yourself, communicate aesthetics, and gain recognition from others. . And what supports these is not the recognition of "suffering" and "success", but the finding of true joy in the purposeless and purposeful nature of music. These complex and uncertain, but including people, are more important than the ability to memorize the rhythm and speed, and the ability to continue to play music in reality. This is the most unrealistic aspect of this movie, and the reason it doesn't make a great movie in my opinion.

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Extended Reading

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?