These notes were formed from a discussion that occurred immediately after viewing Whiplash's superlative ending sequence. The power of cinema is such that it can provoke extreme reactions, and the joyousness experienced through the conclusion of Whiplash is no exception. Yet as the final credits roll, we as the spectator are forced to question our joy. Has Fletcher's abuse been instrumental in allowing Andrew to become an exceptional musician? Is even considering such a viewpoint deeply unethical? Is Terrance Fletcher Justified?
- Fletcher’s methods are by their very nature destructive. His ideology is that true talent can only be forged through absolute abuse. It could be argued that this is never justified
- No one person ‘signed up’ to be abused by Fletcher. In fact, his methods came as a complete surprise to Andrew who is in no way ready for them
- Is a destructive act of self-recognition actually necessary to construct an exquisite talent?
- Does the ending, as wonderful as it, function as an apology for abuse? Even at his pivotal, most joyous moment, Andrew is dripping in a mixture of sweat and blood, which is connotative of his continued abuse
- Does Fletcher even see anything in Andrew? Fletcher can only see his way, and takes ownership for Andrew's success in the final montage! Yet ultimately he is totally vindicated!
- Andrew’s own returning to the site of abuse is borderline masochistic. Andrew’s respect for Fletcher is horrifying and grotesque! Andrew is totally self-destructive!
A brief analysis of the opening sequence
- The MES of the character’s costumes, in particular the contrast between black constructs a clear and even stereotypical diametrical conflict between ‘good and evil'. And not only does this allow the story to be told through colour, it immediately and expediently explicates to the spectator the fundamental conflict at the heart of the narrative
- While Andrew is constructed through even and considered lighting, Fletcher literally emerges from the darkness to be captured by a single high key light. This high key light constitutes a polysemic array of interpretations. The light could signify a halo, constructing Fletcher as a de facto living god.
- However, Fletcher also resembles a devil. His bald head, oversized features, sunken eyes and generally oppressive visage constructs Fletcher as a relentlessly hideous figure
- However, Fletcher has an element of both dominant masculinity and raw sexuality about him. This is constructed through the combination of the MES of his tight black t shirt, coupled with the performance of huis flexed bicep
- Both are completely different representations of masculinity, and both come in to sharp conflict as the narrative unfold