![]() The two most harmful words of the English language are “good job”, says Fletcher. Encouragement is given too easily, punishment is seen as monstrous. View image in fullscreen Simmons with Miles Teller in Whiplash. You can’t laugh at Fletcher, no matter how silly his screaming about a dropped quaver seems. But it’s Simmons’s commitment to Fletcher’s raging perfectionism that keeps you in the piece. Dubbed Full Metal Juilliard by some critics, the film could come across as preposterously macho. He will happily insult and upset to raise the standard. The band are all male, and Fletcher is liberal in his use of homophobic slurs. There’s no “can do”, plenty of “screw you”. ![]() Make them play and play until they hit it. And he’ll do anything to force them to realise it. Fletcher doesn’t care about them, he cares about their talent. Then he takes them through the exercise again. If his players mess up, he throws a chair at their heads. Fletcher – bald, muscular, black of heart and wardrobe – runs an ensemble like a military unit. Shot in just over two weeks, the second feature from 29-year-old writer-director Damien Chazelle stars Miles Teller as Andrew, a gifted jazz drummer seduced into a world of punishing exactitude by his brutal conservatoire teacher, Terrence Fletcher (Simmons).
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