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Road to the Oscars #5: Whiplash (Parte 2)

Já depois de ter escrito o post sobre o Whiplash, deparei-me com este artigo, pelo que agora já não acho que sou a única pessoa no mundo que não gostou do Whiplash por aí além. Tomei a liberdade de copiar um excerto do artigo, em que Richard Brody faz referência àquilo que o filme faz transparecer sobre os músicos, coisa que também me fez alguma confusão ao longo do filme.

 

Andrew isn’t in a band or a combo, doesn’t get together with his fellow-students and jam—not in a park, not in a subway station, not in a café, not even in a basement. He doesn’t study music theory, not alone and not (as Parker did) with his peers. 

(...)

In short, the musician’s life is about pure competitive ambition—the concert band and the exposure it provides—and nothing else. The movie has no music in its soul—and, for that matter, it has no music in its images. There are ways of filming music that are themselves musical, that conjure a musical feeling above and beyond what’s on the soundtrack, but Chazelle’s images are nothing of the kind.

To justify his methods, Fletcher tells Andrew that the worst thing you can tell a young artist is “Good job,” because self-satisfaction and complacency are the enemies of artistic progress. It’s the moment where Chazelle gives the diabolical character his due, and it’s utter, despicable nonsense. There’s nothing wrong with “Good job,” because a real artist won’t be gulled or lulled into self-satisfaction by it: real artists are hard on themselves, curious to learn what they don’t know and to push themselves ahead.

 

Descobri também que a história que Fletcher conta sobre Charlie Parker no filme, e que, no fundo, serve de justificação para os seus métodos agressivos e extremistas, não foi bem assim que aconteceu, mas não copiei tudo para este post para não se tornar demasiado extenso.