gypsy tail windDer Zürcher Drummer Dieter Ulrich im Interview über den Film, der kein Jazzfilm ist.
If you saw Whiplash and loved/liked it, I’m not mad at you!
But I am having trouble thinking of another film so praised/celebrated in the film community while being universally viewed as a total farce within the milieu which it depicts/portrays/engages with.
(…)
But to be clear, I think we’re sort of in a new domain with „Whiplash.“ We’re not talking about musical accuracy any more — does it look like he’s really playing; would a musician really say that; does anybody play that tune these days. With „Whiplash“, as best I can tell, we have a storyline that associates technical achievement with artistic merit/success in a way that I don’t think I’ve ever seen before. Are there bigger problems in the world? You bet. Are there bigger problems with current cinema? No doubt!I’m just perplexed by the fact that such a talented filmmaker could create a film and depict a story with so little understanding for some of the fundamental underpinnings of creativity. Is the pianist that can play the Chopin Etudes the fastest also the most successful one? What about the cinematographer who can get his/her camera in focus the quickest? Or the editor who can color correct for the longest stretch? If anything, I think (jazz) musicians are so dismissive of the film, not because it misrepresents jazz, but because it comes off as utterly unaware of what it means to be and artist and or creative in any way.
steve lehman auf facebook.
--