After having watched Whiplash, I’m still struggling to find the right words to describe it. It’s so astounding and so different from anything I’ve seen before. Everything from the soundtrack to the acting can only be described in one word; electric. There is so much energy and that’s what kept me in suspense. Whiplash is a rarity in modern cinema, as it was the character’s interactions that made the film, not the plot. The main characters are very distinguished; they both can be loathsome at times and equally show emotional weakness. They have realistic motives and reasoning behind their behaviour, allowing them to be more believable characters. It’s been a long time since three dimensional characters have been seen on the big screen, and Whiplash only achieves this by throwing out a complex plot and becoming a character study.

The story follows a 19 year old Andrew Neiman, played by Miles Teller. He has been a drummer since he was a small kid, inspired by the likes of Buddy Rich, and he desperately wants to make this passion into a career. In comes Terence Fletcher, played by J.K. Simmons, a bandleader of the college’s most prestigious orchestral band: the studio band.

The lack of plot, for once, does not damage the film’s quality, but instead allows for an in depth character examination of Fletcher and Neiman. It allows for the creation of rounded characters; Fletcher may be abusive but he is shown to have a sensitive side and does portray vulnerability. The reason for his abusive ways are shown and are intelligible, if invalid.

These are complicated characters, and, as such, only the right actors could bring them to life. Luckily, Teller and Simmons were those actors and without them, the spark this movie needed would be long lost.

Set to a hot jazz soundtrack that only elevates the tension, this film is able to get under the audience’s skin and it also allows for open interpretations of the ambiguous ending. Depending on how you saw Fletcher, either as a misguided father figure who only wanted the best for his students, or someone who enjoyed the abuse of power, you could construe Fletcher’s last act and the final shot contrarily. It’s fascinating and scarce to see a conventional film leave enough room for alternative readings. The wonder of this film is Fletcher’s ability to manipulate the audience, in the same way he manipulates Neiman, meaning we are never truly sure of his intentions, keeping us in suspense.

Whiplash goes above and beyond the usual cliches of the typical underdog story. The intense pacing of every scene, made only more thrilling with the claustrophobic cinematography, along with the charged performances, means that Whiplash takes you along for a ride.