Month: June 2019

Whiplash (2014)

From the very first scene of writer and director Damien Chazelle’s Whiplash, budding jazz drummer Andrew Neiman (Miles Teller) is presented as a man under pressure. Before we see him, we hear the rolling of his drum kit, getting faster and faster as he pushes himself to the limit, determined to improve and impress. When he is subsequently introduced to his formidable tutor Terence Fletcher (J.K. Simmons), he stops playing to greet him, only for Fletcher to ask why. He begins again, only to be challenged once more. Eventually, when Fletcher asks to hear Neiman’s rudiments in double time, he obliges, but becomes so engrossed that he does not initially see Fletcher leave the room. It is clear from the outset, then, that Neiman is not destined for an easy ride, and it’s this exchange that begins a dramatic student-teacher relationship. I was immediately both hooked and emotionally invested.

I felt my chest tighten seeing just how much pressure Neiman was under to succeed, as much from himself than anyone else. I shared in the intimidation he and his fellow Studio Band musicians felt in Fletcher’s presence, particularly when he is unleashing the full force of his fury upon them; Chazelle told Simmons to be “a monster, a gargoyle, an animal” during filming. He is established as a firm perfectionist who won’t think twice about punishing the band for rushing or dragging even by a fraction. His abuse is both physical and verbal, and we learn that a past student of his, Sean Casey, was driven to suicide as a result of his aggression. Nobody’s position in the band is safe, and many of the musicians are deliberately pushed to their physical limits in order to prove themselves. There are multiple scenes of sweat, blistered fingers and blood on the drums as they strive to play harder and faster to perfect a piece, and the sheer pain involved induced many a wince in me; I had never realised just what such determination can drive people to do. The strain is mental as well as physical; Neiman breaks up with his girlfriend and crawls out of the wreckage of a car accident in order to join the band at a performance, even though he is covered in blood and severely injured. The latter incident demonstrates just how Neiman’s priorities have changed as he looks to achieve greatness, and it also pushes him over the edge, as Fletcher’s lack of compassion leads Neiman to physically attack him on stage and get him fired.

At this point, relieved that Neiman’s torment was over, I assumed that the film’s conclusion would be smoother for him. The emotional rollercoaster continues, however, when Neiman, having subsequently abandoned drumming, re-encounters Fletcher at a club. They chat in a manner that is almost friendly, but I was convinced this was too good to be true. Sure enough, when Fletcher offers Neiman a drumming spot at a local festival, he reveals he knows Neiman got him fired, getting his revenge by forcing him to play a piece he has not learnt. Fletcher’s status as a total villain is sealed, as it seems he has humiliated Neiman in front of an audience. Neiman hits back with a performance that eventually earns Fletcher’s respect, and in the closing moments of the film the two exchange smiles. It’s a satisfying ending to something that toyed with me from the start. It’s what Chazelle and his cast do so well; I felt fear, anger, determination and disappointment, all alongside our protagonist, and that is surely the mark of a truly great film.

Mason

Hooked

When I went out for lunch with Will recently, he asked me about a film I’d reviewed for Creative Non-Fiction a little while ago – the critically-acclaimed Whiplash. As we discussed our shared enjoyment of it, it occurred to me that I have never published a film or TV review – or at least a post of appreciation – here before. What I wrote for that film may yet be uploaded, but for this post I’ve decided to focus on Speechless, an American sitcom that has only just arrived on British screens. There’s so much comedy on offer to us nowadays that the good examples must really shine in order to stand out, and Speechless had me intrigued from the very first episode I saw. It’s being broadcast on E4, but I knew straight away that I had to dig deeper to make the most of it, so I found the rest of its three seasons on YouTube.

In case you haven’t seen it, Speechless follows the exploits of the weird and wonderful DiMeo family, consisting of mum Maya (Minnie Driver), dad Jimmy (John Ross Bowie), and their three children, Ray (Mason Cook), Dylan (Kyla Kennedy), and JJ (Micah Fowler). The latter is the one around whom all their lives revolve. Like me, JJ has cerebral palsy, albeit in a more severe form than me or the actor who plays him. He is given a great deal of physical assistance from both his family and his aide Kenneth (Cedric Yarbrough), with whom he forms something of a double act. The show’s title alludes to the fact that he does not speak – instead, he uses a laser pointer and word board to communicate, and Fowler had to learn to use both of these prior to taking his role. The result of this is a wide array of reactions and expressions, all of which allow the viewer to connect and laugh with him, without ever needing to hear a word. Of course, it is immensely satisfying to see that despite his differences to others, JJ is accepted and engaged with like any other teenager by his peers. So far, I’ve seen him join his school choir (using Kenneth as his “singing voice”), get drunk at a house party and find love, and I can’t wait to see him get up to more mischief – he isn’t made a total saint…

What’s even more pleasing to see, though, is cerebral palsy itself being highlighted so prominently on TV, and so brilliantly by Fowler. Whilst I have seen disabled characters and actors before (albeit not often enough), I can scarcely remember another occasion when I have seen someone with my condition. I’ve never met anyone whose cerebral palsy affects them in the same way mine does, such are the differences between cases, but to see it at all means a great deal. It’s therefore such a shame that Speechless has literally just been cancelled – I can’t help but feel that this important, entertaining and very much cherished show has been cruelly snatched away from me just as I’m getting hooked on it. Nevertheless, there are plenty more episodes for me to devour just yet!

Mason

 

Five Seven Five

When my Winchester flatmate Sam and I cross paths, often in the kitchen at odd times of the day or night, he’ll frequently ask what I’m writing at the moment. In the last few weeks, with no academic work to do, the answer has tended to be “nothing much”. Even when I’ve prompts in mind, nothing has been fruitful, but one very small thing has suddenly helped to change that – and I could find it rather useful over the coming months at home.

When I saved and submitted my poetry portfolio at the beginning of last month, I assumed that I was letting go of the last batch of verse I would write in a while. I’d had trouble gelling with the module, and – excluding one on song lyrics – I haven’t chosen to take any poetry modules next year. That was that, or so it seemed. Just the other night, using the pen and notebook Louis bought me for my last birthday, all it took was three lines to reveal that perhaps I have unfinished business with it after all. In a haiku, I have a simple outlet for all of those fragmented thoughts and emotions I’m keen to express. It’s also good for the ideas I have that aren’t quite big enough for me to expand on substantially, those that start out as words, phrases or images. If I get them down on paper in this way, I’m shifting my writer’s block and expanding my portfolio, albeit more gradually than I would like.

As I’ve said, it could come in especially handy over the next few months while I’m back in Somerset for the summer. It’s fair to say that I’ve been more than a little bit apprehensive about returning from Winchester and facing numerous questions about what I plan to do with myself. I’ve been embarrassed about admitting that right now, there are no plans to speak of – but I’m hoping that writing and the ideas I have will help to ease that as I work on making some. It doesn’t matter whether they manifest themselves as bigger things or smaller ones, or in three lines or more.

Mason