*Whiplash spoilers ahead*
On Tuesday, Sept. 24, I was lucky enough to catch a 10th anniversary reissue of Damien Chazelle’s 2014 film “Whiplash” at AMC Boston Common 19. The film centers around Andrew Neiman, an aspiring jazz drummer who falls under the mentorship of the notorious Terrence Fletcher. I was thrilled by this movie when I watched it for the first time this summer, so naturally I jumped at the chance to see it on the big screen. Of course, watching a movie on a laptop doesn’t even come close to the experience of seeing it in a theater, reclined in a plush chair with snacks in hand. I find this especially true of reissues, where most audience members are already fans of the film. This was certainly the case in my theater, in which I felt a strong sense of camaraderie and even community with the other patrons. We laughed at J.K. Simmons’ iconic “not quite my tempo” line, air-drummed along with Miles Teller, and simultaneously sat up in our seats as the film’s climax began, a palpable tension falling over the room.
It’s no secret that “Whiplash” is an absolutely fantastic film –– it received nearly a hundred accolades after its release, including three Academy Awards. Simmons took home the Oscar for Best Supporting Actor, a well-deserved nod to his terrific performance as Terence Fletcher. Seeing his performance on the silver screen emphasized how incredibly terrifying he was as Fletcher, a wickedly cruel music instructor who becomes an aberrant mentor to Andrew Neiman, Teller’s character. The film excels in its intense subversion of the typical mentor-protégé trope (think “Good Will Hunting,” “Karate Kid” or “Dead Poets Society”) into something spine-chilling rather than heartwarming.
Upon this most recent rewatch, I was struck by what seemed to be almost body horror elements of the plot. The film’s central theme is obsession, and the lengths to which one will go to become “the greatest.” Fletcher is undoubtedly an abusive figure, but Neiman fervently abides by his methods out of a belief that under Fletcher’s guidance, he can unlock his potential as one of the greatest jazz drummers of all time. Unfortunately, this comes at the expense of Neiman’s mental and physical well-being. Some of the most memorable and visceral scenes include close-up shots of blood dripping onto the drums, pouring out of bandaged hands from hours of exertion.
At one point, Fletcher pits Neiman and two other drummers against one another to see who can “earn” the role of core drummer in his band. To do this, he holds the drummers and the rest of the band in rehearsal for five hours, demanding that they play at an inhumanly fast tempo. I felt a deep sense of physical discomfort watching the musicians push themselves to the absolute limit, vying for Fletcher’s acceptance as he berates them. At the scene’s climax, Neiman plays frantically while sweating, spitting, bleeding and nearly crying as Fletcher chucks a cowbell at his head, screams profanities and hurls a drum across the room. When Fletcher finally cuts him off, he simply tells Neiman, “You earned the part,” before instructing the two other drummers to clean Neiman’s blood off the kit.
Body horror is a subgenre of horror that features graphic depictions of the destruction or degeneration of the human body. It incites fear by presenting the body in an abject form, as something grotesque. I would not say that “Whiplash” crosses this boundary –– it’s certainly more of a dramatic thriller. However, certain elements of the film incite fear by presenting the body (specifically Andrew Neiman’s) in a way quite reminiscent of body horror. “Whiplash” highlights the body’s gradual decline towards borderline abjection for the sake of greatness.
One of the most striking scenes occurs when Neiman gets in a car accident while rushing to a competition, which severely injures him. Instead of going to a hospital, Neiman crawls out from under the wreckage and staggers toward the concert hall, determined to keep his hard-earned spot in the band. It’s an extremely harrowing sight to behold, watching a barely conscious man force himself to perform out of absolute desperation for success –– a desperation which is reflected by the state of his body. He is bloody, stumbling, and can barely even hold his drumsticks. In this sense, his body becomes a horrific object, reflecting the state of his psyche under Fletcher. This event proves to be his breaking point, as the scene culminates with Neiman physically attacking Fletcher on stage and getting kicked out of his school.
Though it may not fully fall under the genre of body horror, “Whiplash” is an incredible and enthralling movie that grabs your attention in its opening moments and doesn’t let go until the credits roll. If you’re a person who enjoys being on the edge of your seat but isn’t necessarily into horror, this is certainly the movie for you.
Contact the editors responsible for this story: Norah Catlin, Ivy Buck
