Through all our discussions, it is, by now, clear that Fletcher did indeed soften his stance over Andrew and recognised him as an artist with calibre towards the end.

He also laments at one point to Andrew about never finding “his Charlie Parker”, but that he tried at least. While narrating the conditions that lead to his dismissal from the school, Fletcher laments people not understanding what he was trying to achieve through his extreme methods at Shaffer. Both ‘Whiplash’ and ‘Caravan’ are terrifically performed here, lending much of the manic energy that drove the film. ‘Whiplash’s ending too is cinematically brilliant and adrenaline fuelled throughout to make you believe that it’s a warm and fuzzy close to the film, while on the contrary, it might not be. However, a few deliberate choices by the filmmakers have left some of it open to interpretation, and the very moral fibre of it comes under question with the kind of dichotomy created here.

Not to mention, Fletcher’s interruptions for the band’s practice of ‘Whiplash’ for tempo correction, (“Not quite my tempo!” and “Were you rushing, or were you dragging?”) will forever scathe the anxious viewer in me, but the fully realised pieces in the film, are both a visual and aural treat.Before we begin delving into the first theory, it is fairly obvious that Fletcher knew Andrew had testified against him well before the two stumbled into each other at the Jazz club. Fletcher likes to tell the apocryphal story of howJo Jones threw a cymbal at Charlie Parker's head one night when he messed up,thereby pushing him to the breaking point at which he became Bird. The film received critical acclaim as well as an Oscar nod for best picture and it won best supporting actor as well as Best Film Editing and Best Sound Mixing. He walkssuch a line that, even after the kind of inhumane mind games and physical abusethat should produce legal charges has unfolded on screen, we find ourselvesdrawn to Fletcher. It is vastly dependant on individual perspective if you are to consider this growth, but the look on Andrew’s father’s face in the end might tell you otherwise, in a sense that a pertinent loss of innocence for Andrew is vastly evident. n. 1. One (of many) scenes of gratuitous meanness from the movie “Whiplash.” -image courtesy of IMDb However, in the midst of all this, one important actual fact did stand out. While the film doesn’t delve into what happened in the case of the former two, we see the latter share a smile of approval with Andrew as his solo ends, while the camera skilfully conceals Fletcher mouthing “well done”, adding to Andrew’s visible glee as he continues his stellar performance as the film closes. But what makes Whiplash … While “Whiplash” would be a notable film purely for Teller and Simmons’ performances, it reaches a different level when one considers the execution of its tempo. All the respect to the actors for pulling off their best performance faces, especially the five-minute long drum solo in the finale on the tunes of the latter. He might still be mad at him, but as an artist, he now respects him and his resilience as he sees Andrew not give up, continuing to wow the audience, despite the kind of move he’d just pulled off on him. He’s not 100% wrong when he says that the most dangerous twowords in the English language are “good job.” Whether you think it's the right approach or not, we’re in an era of praise,where encouragement is the teaching tool and every kid gets a medal for participation. Realising he was being sabotaged, Andrew stays nonetheless, trying to improvise his act, but fails to keep and leaves, humiliated. As for Simmons, Fletcher could have been sucha caricature in the wrong actor’s hands.

Naturally, Andrew accepts, and just before the beginning of the performance, Fletcher informs him that he was aware that Andrew was the one who testified against him that led to his dismissal, and starts off by cueing in a tune Andrew didn’t know. However, among a string of gems, I have to mention the genius of two musical pieces performed for the film, ‘Whiplash’, originally composed by Hank Levy and lending the film its title, and ‘Caravan’, originally composed by Juan Tizol and Duke Ellington, also forming an important part of the film’s narrative.

Whiplash is an excellent film, one of the best of 2014, but like all movies it has its shortcomings. Charlie Parker didn’t give up, practiced harder, and bounced back with a solo performance that instantly found him a place within the greats, reiterating the validity of his methods in pushing people to perform beyond what was expected of them, in the hope that they would deliver.If ‘Whiplash’s ending doesn’t have you on the edge of your seat, your heart racing and your pulse in your throat, perhaps you were watching a different film. However, with a steelier resolve, he returns to the stage, and interrupts Fletcher in the middle of his speech by playing ‘Caravan’, eventually cueing the band in.The two central characters in the film, Andrew Neiman and Terence Fletcher appear with little redeemable “human” qualities about either of them, except their talent, will and determination to push themselves harder in the pursuit of something greater.

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