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Whiplash (2014)
Abuse, Envy, Betrayal and "Jazz?" Oh, my!
"A promising young drummer enrolls at a cut-throat music conservatory where his dreams of greatness are mentored by an instructor who will stop at nothing to realize a student's potential..." or so the description goes.
In reality, though, the only thing Fletcher - the "band leader" - wants to do is destroy anyone with more talent than he, which includes about everyone else after hearing his attempt to "play jazz"near the end of the film. (Truly awful, mediocre and banal. And, NOT jazz!)
Fletcher is a one-dimensional combination of Mo'Nique's character in Precious and Salieri (F. Murray Abraham) from Amadeus. His intent is to destroy talent, not nurture it, especially when he runs across what he considers real talent. His motivation is pure envy. His character is not only a complete fraud and liar - Charlie Parker's nickname "Bird" came from his childhood, long before he picked up his first sax and had nothing to do with a "cut session" later in life - he's a psycho-sadist who has no business "teaching" anyone anything.
Those of us who truly love jazz gag at every reference to Buddy Rich. Rich, while a remarkably talented drummer technique-wise, was no jazz drummer. He simply didn't have the soul and he knew it, which goes a long way in explaining his recording studio antics. He, too, was a jealous, egotistical jazz wannabe, much like Fletcher.
The editing of this film reminds me of "film school 101" where the first assignment in editing class is to cut a piece of film to music. It's amateur at best. End of story.
But rarely have I seen a film where one scene was so completely out of place that, in retrospect, it completely undermines any positive intention the film may be attempting. I'm talking about the dinner table scene, where Andrew's father humiliates him in front of family and friends gathered for a meal. The dad's later declaration that he "would do anything" to protect his son from abuse rings as hollow as the film itself. That entire scene should have been left of the cutting room floor. It did nothing for the film except destroy the narrative, the characters truthfulness, and the overall "theme" of the film itself, although I'm not quite sure the director, writers, actors, etc, were actually aware of what they were attempting to achieve.
One glaring "oops:" Fletcher is hired to conduct a JVC gig at Carnage Hall - probably by bullying someone. He invites Andrew to play the drums (seems he needs a drummer on short notice). But honestly, would someone in this position actually organize such a prestigious event without having a back-up drummer just in case Andrew fails to show? I think not. But, that's what happens. And, it's a mess.
Thankfully, this "film" has an antidote in The Theory of Everything, a great film about a true genius and what it takes to nurture one to fruition. Whiplash cannot fall into the abyss of obscurity soon enough as far as I'm concerned. Oh, and the soundtrack sucks, big time. Jazz? Not even close.
The April Fools (1969)
I Couldn't Agree More
As I recall from seeing "The April Fools" back in the late '60s-early '70s, this film is worth seeing just for a brilliant performance by Sally Kellerman in the role of Howard Brubaker's long-suffering, and forever home-decorating wife, who springs to life fully-formed three decades before the first house renovation and make-over TV series ever aired. It's true that there's a lot of stylish fun in this film, but there's also a sense of regret and a longing for something that never quite worked out the way it should have for the Jack Lemmon character that gives "The April Fools" some real poignancy. But then, I've never found melancholy to be a particularly bad thing. The script is first rate, as are the cinematography, set-decoration and musical score by Burt Bacharach. If you can locate a copy of this gem, I highly recommend it.
Ronda nocturna (2005)
huh?
Surely there's a better way to tell this story (there was a story?) that appears to be an attempt to quantify the meaningless of modern life, the regrets that haunt ones memories, and the endless search for something - anything - that may resemble a glimmer of hope. If Aregentina is truly this desperate, humorless and immature, forget about it. I'd rather see a musical version of "Waiting for Godot."
Filled with vague, personal symbols that are probably quite meaningful to the filmmaker, we're constantly baffled by what we're seeing and waiting (for the most part) on something to happen, something that might make us care about the characters, the situation, the plight of "lost" souls. Yet, in the end, we realize that all we've actually been waiting for is the sun to rise and the final credits to roll.
When asked what he thought was the hardest part about making movies, Mel Brooks said it was punching the sprocket holes along the edges of the film. This movie presents us with an alternative answer. The most difficult thing about making a movie is making one that matters.
Rent (2005)
Hair? Chicago? HUH?
You know, ya gotta love these kids who think they know what they're talking about, though it takes away from their credibility somewhat. . . "Rent" is a modern-day take-off on Puccini's "La Boheme," while the musical Chicago is an adaptation of the movie "Roxy Heart" with Ginger Rogers, which was taken from the play of the same name. . . and i have no idea what this kid means when he says "Chicago" ignored its musical theater roots. . . almost all of "Chicago" was shot on either a sound stage or an actual stage. . . it was very much a typical musical in its delivery (or does this kid think "South Pacific" was your typically staged musical movie). . . "Rent" is a pure example of the death of the American musical genre. . . my first comment after seeing a staged production was, "Boy, they sure don't write them like they used to". . . And now we get a filmed version that not only cops out on some of it's more important social comments, but looks more like a rag-tag, low-rent (pun intended) version of "Fame". . . stay home or "rent" the classic "Chicago" from your closest BB. . .