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Luisa 2022-04-23 07:01:06
Drama often extremes reality, which itself is indeed one of the charms of drama. But taking it to extremes and ultimately changing the nature of the reality it is intended to represent is a bit too much. In the film, mentor Fletcher hopes to achieve qualitative transcendence by forcing students to break through their limits, and with Newman, he did it. This is a story of mutual conquest between the powerful, and there is nothing wrong with it. The problem is that it destroys the nature of the music—the music in the film is no longer music, but a tool for the director to create dramatic conflict, which is disrespectful to the "music" itself. If it is a subject that has to live and die, such as competitive sports, it may not be a problem. But jazz is free, and on top of that, the music is visceral and deep. Taking music as the theme, making such a typical American film that still does not escape heroic personal redemption seems vulgar. Of course, the film is full of conflicts and struggles and must be a hit. (Towel City)
Extended Reading
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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.
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Troy 2022-04-24 07:01:02
After thinking about it, it was not quite right. How could the limit of artistic expression be achieved by a big boss seduced by insults, stimulation, deception, and abuse?
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Terence Fletcher: There are no two words in the English language more harmful than "good job".
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Terence Fletcher: [Repeated line] Not quite my tempo.