Beat into submission

Whiplash (2014)dir Damian Chazelle

Throughout the history of art and culture, and indeed the history of anything, there is a very real and conscious acceptance of suffering.
Suffering will lead to salvation, to the promised land.
Suffering is the process one goes through to reach fulfillment.
Enlightenment. Satisfaction. Education.
A theory that an element of luck can shine down on the righteous, but ultimately it is the tears shed and blood spilled that are a more accurate barometer of the likelihood of success.
But what happens when that suffering overtakes and suffocates life?
That is the essence of Whiplash.
A title of deep significance through the film, it is the song that is exhaustively repeated by the players in a Shaffer studio orchestra. It is the painful effect often suffered through the trauma of a car accident. It is also ominously derived from the swift movement of a piece of rope, used to exert control over a subject, man or beast. To wield the lash.
Here we have the relationship between two individuals, Andrew, a young man desperate to make the grade as a jazz drummer, and Fletcher, the instructor who holds so much more than a baton in his hands.
Everyone else is secondary in the focus. Andrew's father, a brief relationship with a girl, the other musicians and wider family are all peripheral.
From the first beat to the last in this exceptionally delivered story, it is all about Andrew and Fletcher.
The control that is exerted, the physical contortions that must be pushed through, the psychological examination that is constantly challenging and striking.
The music is incredible, and the performances authentic.
But the examination of what goes into greatness is a wonderful antidote to the times of instant success from reality television.
It also raises an immense question, posed by Fletcher who is exceptionally formed by JK Simmons.
How far is it acceptable to push someone?
For what many would view as abuse, both physical and emotional, another person might see them as a means to an end.
Examples are tossed out like notes in a solo; Charlie Parker, Louis Armstrong. These great figures would not exist but for punishing, regimented and extreme teaching that challenged them to be better than everyone.
It brought to mind the experiences of Michael Jackson when he talked about his father in later years, the abuse he subjected him to.
But you sense in the eyes of Andrew that he never resents the torture he is put through. He relishes it. He wants to rise to the top, and if it doesn't kill him he will make it.
For why deprive the world a work of art, because a few people might fall by the wayside on the way there?
I imagine there are two groups of people who will walk away from this film.
Those who agree with Fletcher, grind those many rocks of coal and one diamond will appear for the world to enjoy, and to hell with the rest.
The other will come away shocked, appalled and feel that were it them, or people they care about, they would flinch at such punishment.
I won't say which category I fall into.
That is the joy of watching this film, you are shown, not told.
You are given a document to view and make your own mind up.
There is no resolution, beautiful music but neither an end point of traumatic failure or defiant success.
It could still go either way for both Andrew and Fletcher when the screen goes black.
But getting there gives you more than enough to draw a conclusion, and decide if you can stomach pain and suffering. Even if it doesn't lead to a pot of gold.
And even if you have no view either way. You can't help but love the performances.