Whiplash || Final Scene Analysis

ANALYSING THE CINEMATOGRAPHY OF THE FINAL SCENE OF WHIPLASH

OPENING SHOT:
This first shot of the final scene in Damien Chazelle's intense, obsessive film Whiplash is a fixed camera (conveying control), medium close up shot of terrifying instructor Terence Fletcher (J.K Simmons) which frames protagonist Andrew Neiman (Miles Teller) between the fist and face of the instructor he has been practically been breaking himself to please.

This has been done symbolically, the fist representing Fletcher’s control and his gaze representing power (consequently why in the next shot, his focus moves to Neiman himself, the audience’s focus moves with him emphasising his control.) Fletcher’s hand is a motif seen throughout the film and is increasingly prominent in this final scene, as conductor he holds all of the power yet Neiman snatches away this power when choosing to doing his own solo. On the other hand, perhaps the hands are repeatedly returned to in the film as that is what gives Neiman his power also - as a drummer it is his hands that essentially control whether he succeeds or fails and the speed, precision and dedication of his hands have been tested over and over again during the film. It is literally his hands that determine whether what he has been obsessively working towards is achieved, and it is literally Fletcher's hands that control when and how he is able to present these achievements.

The shot is also an an over the shoulder shot, to put the audience in the position of Fletcher. This shot is usually used during discussions between characters, but used here to frame Neiman, hence why in the next shot, the camera’s focus pushes to Neiman himself. Moreover, this is a reaction shot, Fletcher moving from being in the position of power, to out of control as Neiman ignores his instruction. He finds whatever is happening so reactive, he must draw his attention away from everything else.

The lighting has this incredible gold tone to it also, conveying the importance of this moment - it is finally Andrew’s chance to prove himself. Generally, it’s a very powerful opening shot of the scene and illuminates for the audiences the festering, intense power-play that is finally going to erupt between the two opposing characters.

OPENING LIGHTING:
The next sequence of shots (above) displays the importance of lighting in the scene. The camera cuts to a close-up reaction shot of Fletcher as the withheld information concerning his reaction is revealed to spectators. They are now able to see his shock and concern, but only just as he is lit from the back with this intense golden glow. Most of his features are still unclear and even more so when he is flooded with shadow, the camera remaining fixed virtually at all times. This movement depicts that the focus of the scene is on Neiman and not on Fletcher, and also the physical confusion Fletcher is experiencing, he (like the audience) is unaware of what Neiman is trying to do - he is literally and figuratively in the dark.

The entire film, despite following Neiman, has arguably been about Fletcher. He is the one Neiman obsessively attempts to impress, he is the one holding control, power and ultimately knowledge. Yet this scene is not really about him, it’s about Neiman's triumph - his successes.

Moreover, this is why the pitch-black screen illuminates onto Neiman's face in a low-shot to depict the strength spectators have been craving from him. He is what is important in this scene, it is his achievements that are being showcased. This is also a snazzy way for Chazelle to move from one shot to the next.

MONTAGE:
The audience next is launched into a montage of kinetic camera movements, causing pandemonium as Neiman continues his incredible drum solo. The camera darts back and forth between extreme close-ups of the drumsticks, Neiman's hands and even the dust exploding from the drums. Then it switches to a disorientating point-of-view of shot of the drumsticks hitting the drums and the camera moving just as quickly with just as much precision as Neiman's eyes. The audience is pulled right into the smallest, most feverish details of every moment with held breath. The film has convinced us to root for Neiman and this final performance is the chance for all of the building tension to be released in one, utterly perfect performance. The audience want to be there to experience it all with him with just as much intensity and these close, detailed shots allow us to do this. For most of the crazed montage, the drums are in focus over Neiman because the drums are obviously the most important part of the scene - they define this character.

The audience is then offered a slight lull within the mad intensity and are given this high angle, wide shot of the entire drum kit. Neiman is barely within the frame himself, but his arms and hands move widely across the set. The audience notice a music stand sitting passively beside the drum kit, (knowing it is not needed) and might have stopped to smile at it, if the scene wasn't so tense. The golden light once again bounces off of the drum kit, highlighting it's importance - it practically looks like liquid gold and plays into the dance of light and dark Chazelle has created. The protagonist himself is in darkness, withholding information to audiences concerning his reaction and emotional state. Like the rest of the scene, the light is a mess of highlights and contrasts - it's ever moving and every-changing just as the fixed camera shots do.

WITHHOLDING INFORMATION:
The camera then cuts to an intense closeup of Neiman from a high angle. Neiman who has been given all of this power through lighting and focus is once again depicted with a high angle shot - highlighting to audiences that he is still a vulnerable, desperate student who will break himself to impress. The audience are able to see the sweat dripping from his matted hair. The lighting is behind him to disrupt the clarity of his face, yet highlight the sweat pouring from his hair. The focus is even a little hazy, worrying the audience as they wonder whether he is going to give up or worse, make a mistake?
Then, for a split-second he looks up with a strange concern. Is he looking out to the audience? Proving he doesn't even need to look at the instrument to deliver a perfect piece? No. He is, of course, looking to Fletcher for perhaps approval, perhaps to let Fletcher know that he can do this. Despite the triumphant golden lighting, the note-perfect performance and the eerie silence of the room at his physical audience (not those in cinema seats) watch intently - he still looks obsessively to Fletcher with strained eyes. The highangle is proving to the audience that he is still the insecure, talented musician met at the start of the film.

Next, we move to a much wider, more establishing shot (perhaps a very slight Dutch angle for the general uneasiness of the situation). Now the audience is more aware of what is happening, the lighting is brighter and reveals the scene completely rather than concealing it. Yet the lull in tension is about to eradicate, this establishing shot is pushing the narrative forward. We moved in closer during the short, sharp conversation with Fletcher because it was quiet, below the music and not for the literal audience in the theatre to hear. But, as spectators we are given an intense insight into every detail that is occurring and are now positioned further back. It would not increase tension or mania if Chazelle moved from a close up between the two characters to extreme close ups of frantic motion again - no, we need to move back out so moving in again becomes wilder and much more hysterical for audiences.

(In the shot above, the camera actually pushes in focus from the drum kit to Teller's character, creating movement for the camera without actually having to move - a technique Chazelle uses to add to this incredibly intense montage.)

PACE AND INTENSITY:
 Once again a manic frenzy of extreme close ups and close ups come together, but now these shots are repetitive returning to the same shots of his hands turning bloody, the drumstick against the kit, his face wincing as pain and determination mix to make something ugly and beautiful - it's obsessive. The audience see sweat dripping down the drums and exploding from them as the stick hits, blood appearing between his fingers as he obsessively forces himself to continue and such intensity on his face it makes our stomach tighten. All through this the camera is fixed - like Neiman, it is in control. Throughout the sequence, close ups of Neiman's desperate face are sprinkled in to create this jagged feeling of the audience being thrown between the character and the drum kit, who soon enough become one and the same as we go back and forth so often and notice Neiman's eyes are closed - he feels the music.
During this sequence one of my favourite shots flashes to the audiences - the fixed camera, extreme close up of the character's ear, dripping with sweat and nodding slowly back and forth. The incredible sot proves to audiences that Neiman knows what he is doing, he is part of this music and will put everything into this performance. The pace of the film is slower here also, with some shots put in almost slowmotion as the intensity rises again and Neiman regains his pace. In the final shot of the intense sequence, we watch as he winces and struggles to build back up the insane pace of the peace. But he does it, and audiences still don't dare let out bated breath. Finally camera movement is established in a short burst of 'back and forth' between the two symbols, another flash of pace and movement.

CONTRAST IN SHOTS:
Suddenly audiences are snatched from the blazing montage into a long, wide shot. We see Neiman completely bathed in gold and framed between a door and its frame. A point of view shot, information is once again withheld as audiences do not know whose point of view they are looking through, yet the camera cuts to an emotional still of Neiman's father, looking longingly at his son as he moves on stage with inhuman pace. The camera zooms in the slightest bit also, representing that something is dawning on the father - something important is making sense and the audience are allowed a slight lull from the madness of it all once again. Chazelle creates these amazing peaks and lulls of tension, keeping us completely engaged and bewildered - the two are practically fighting against one another.

USE OF MONTAGE AND CAMERA MOVEMENT
Once again spectators are lurched one of these incredible jump-cut montages of fast-paced, crazed movements. Chazelle ensures during these sequences that the screen is always filled and any space that is there is shadowed, therefore filling our vision and making the whole process so much more immersive. There is also a contrast between the fixed and frantically moving camera, adding to this mania.

FRAMING AND COMPOSITION
Fletcher is slightly off center in the shot above, his arms outstretched in either direction creating a strange symmetry - he himself is symmetrical yet as he is off-center there is a slight uneasiness to the shot. The back lighting creates this interesting, almost divine hue - Fletcher certainly has a God-complex throughout the film and it is in shots like these, we see this realised on screen. Like God, he holds control and is looked up to immensely, yet Neiman has contradicted his power for much of the scene until this shot where Fletcher is now back in power. The medium-close up shot is interesting as his focus is parallel to his left arm, drawing the viewers attention to the right of the screen.

FAVOURITE SHOT || ANALYSIS
My favourite shot of the entire scene is the extreme close up of the single drop of bloody running down the drum kit. The golden, hazardous light hits the symbol where the droplet is running down and so brings the audience's attention to it.The symbol fills the screen, again making it all much more immersive and intense whilst the lines of the symbol are perpendicular to the drop of blood, which creates interest and an uneasy atmosphere for the  audience.

USE OF EXTREME CLOSE UPS
As mentioned previously, Chazelle loves a good extreme close up to continue with this wild, manic atmosphere. The lighting contrasts here between the two characters also, Neiman lit face on to convey his innocence and Fletcher is lit from behind in a celestial way. The composition is all consuming, the movements so slight but so powerful. It's bloody fantastic.

~Grace~