For the 2014 film:
- Alternative Character Interpretation:
- Is Fletcher one of the few teachers out there willing to push his students to the limit, or is he an egotistical jerk who goes way too far when he tries to push them and gets mad at them for things that are sometimes completely out of their control? Word of God indicates he is both.
- Was Fletcher's attempt to humiliate Andrew in the third act a last ditch effort at revenge, or a secret test of character to see how far his pupil has advanced?
- Americans Hate Tingle: An inverted case, Whiplash was the 8th worst-performing movie in 2015 in Japan (where it's called Session). Whiplash was never a big moneymaking film, but the Japanese took an aversion to watching it like no other country.
- Awesome Music: As a film about jazz (and the lengths to which one goes to perfecting their performances of it), this is to be expected. The editing and sound mixing really help to make the film's musical moments stand out as cinematically thrilling. The final performance is a true stand-out.
- Award Snub: Averted compared to many other films, winning 3 Oscars (more than any film aside from Birdman and The Grand Budapest Hotel). However, some found it unfortunate that Damien Chazelle lost the Best Adapted Screenplay to Graham Moore for The Imitation Game (not to mention the fact that he was nominated for Adapted Screenplay at all, instead of Original, due to some odd Academy regulations). He also failed to receive a Director nod. Many also thought Miles Teller should've been nominated for Best Actor.
- Crosses the Line Twice: Many, many of Fletcher's interactions with his students can make for this. He'll often call out his students on a mistake, and then compound on this by making fun of the student for either their nervousness or for a specific aspect about them, be it weight or their mother walking out on them.
- Darkness-Induced Audience Apathy: Invoked by Damien Chazelle and discussed in an interview that he made none of the main characters completely, if at all sympathetic. He explains that he wanted to make a film about people committing morally repugnant practices for the sake of a common good and questioning whether their actions are acceptable rather than a simple black and white portrayal of morality. In the case of this film, its main characters are unlikable people hurting each other for the sake of creativity. The director goes to great lengths to show us how low these people will stoop to achieve their goals and the lurid implications of their self-destructive paths. Seeing how Fletcher is a man who prizes his creativity over people, treating his students as a disposable commodity, and Andrew is single-minded in his goal, disregarding his own self-worth to appease a man who will always look down on him, there is ground to why pessimistic viewers won’t latch on to these characters.
- Esoteric Happy Ending: The film ends with Andrew finally winning Fletcher's approval with his performance of "Caravan". Unfortunately, Andrew's self-destructive obsession to become "great" costs him almost everything in his personal life. This ultimately leads the viewer to wonder if him achieving greatness was really worth it, especially given the sheer amount of vitriol he receives from Fletcher up to the film's end. Damien Chazelle shares his thoughts here, pointing out that this was an Invoked Trope.
- Family-Unfriendly Aesop: There has been a small debate on what the film's stance is on whether the film supports Fletcher's methods or not. His abuse has a terrible effect on the psyche of his characters to the point that one former student is revealed to have committed suicide from having endured so much under him. However, he does instill a drive in Andrew to better himself, and the final drum solo in the movie's climax shows that he was ultimately successful in his objective.
- Funny Moments: This College Humor video, which features Weird Al as one of Fletcher's students.
Fletcher: Now why do you suppose I just hurled a chair at your head?
Al: You're… trying to win an Oscar?
- Genius Bonus:
- Andrew's reverence for Buddy Rich is ironic considering that the story takes place in a music school and puts a lot of emphasis on sheet music. Rich never received formal musical training and couldn't even read sheet music.
- Likewise, if you already know that Fletcher's Charlie Parker anecdote is at best a Motivational Lie, you've got a better sense of what Fletcher is trying to pull and what kind of scene he's coming from.
- Harsher in Hindsight:
- Damien Chazelle was in a bad car accident toward the end of filming, but continued to push on and got the film wrapped in just 19 days, eerily paralleling Andrew's insistence on playing after his accident.
- Likewise, Miles Teller has so far been through two dangerous car accidents in his life, and has lost a close friend to one.
- He Really Can Act:
- Those who either didn't see his work in The Spectacular Now or just regularly pigeonholed him as someone who could only play variations of the "frat boy" character archetype would be surprised at just how effective Miles Teller is as Andrew. He has to sell a lot of the character's vulnerability and determination, and pulls it off well. Additionally, much of the drumming in the film required his own preparation.
- J. K. Simmons' Oscar-winning performance as a Sadist Teacher intent on pushing his students to perfection also deserves mention, even drawing comparisons to R. Lee Ermey's role in Full Metal Jacket.
- Hilarious in Hindsight:
- Ho Yay: In between all the mind games, homophobic slurs, and threats of sexual violence, there is a lot of passionately sustained eye contact in this film between Neiman and Fletcher.
- Magnificent Bastard: Fletcher. Luring Andrew into a false sense of security so that he could embarrass him in the film's final performance made for a devious reveal. Luckily, Andrew is able to save face with his drum solo.
- Moral Event Horizon: It's not really a question of whether Fletcher crosses this, but when. If he doesn't cross this by lying about why one of his pupils died or when he mocks how Andrew's mother left him, then he certainly has near the endgame by tricking Andrew into joining his new band so he could humiliate him in the film's final concert.
- Narm: Some of Fletcher's insults get so over-the-top that they become humorous.
Fletcher: One more thing, Eugene give me that. [holding music folder] If I ever find another one of these lying around again, I swear to fucking god I will stop being so polite. [Metz walks in] Get the fuck out of my sight before I demolish you. Stage right, in order, now. [to Metz] I can still fucking see you, Mini-Me.
- Narm Charm: But J.K. Simmons's powerhouse performance is still effective even if you're laughing at some of Fletcher's outrageous insults.
- Tear Jerker: At the end, after Andrew has been humiliated by Fletcher he runs into the arms of his (loving but, to Andrew, unforgivably unambitious) father. And then, he still chooses to go back out in a last ditch effort to finally gain his instructor's approval. It's clear that in the duel of fathers, Andrew has chosen his abuser. His dad looks on, knowing full well that he's just lost his son.
- What an Idiot: Andrew; during the first act, despite seeing Fletcher berate and boot out a student for not picking up on another classmates mistake, doesn’t pick up the red flag on his instructor's persona and blindly gives Fletcher personal information that the latter uses minutes later to mock him. Even knowing how Fletcher will stoop low enough to lie about the circumstances of a student’s death to save his own hide, he still has a heart-to-heart conversation with Fletcher in the third act, which is only a ruse to lure Andrew into a trap.
- The Woobie: Andrew, at times. Though it borders a little on Jerkass Woobie with how he treats Nicole.