#movieflashback: movies about music that broke my heart.

“Whiplash” (Damien Chazelle, 2014)

"Whiplash" is a problematic film, because in theory there are only three reasons to watch it and they are in turn to ones who love jazz, the desire to appreciate great acting and the liking for very good photos. The plot here is only a pretext and insignificant that it is difficult to talk about it at all. Because, in principle, it doesn’t exist.

This is a very simple story: a young boy (Miles Teller), who subordinates his whole life playing the drums, goes to the jazz band Terrence Fletcher (JK Simmons), known not only for his artistic achievements and those under his care, but also - if not above all - from cruelty and extremely high demands. Young Andrew quickly realizes that this is all true: the teacher doesn’t spare anyone, and when his stern eye is focused on the new member of the band, blood is shed. Literally.

"Whiplash" is watching to listen: music pulsates here in almost every scene and fans of jazz will definitely ending up by crushed for a perfect harmony of the finale. However, before it comes to finale, they will see a lot of pain and suffering, liters of sweat poured out and open wounds on the hands of the main character.

The film evoked discussion in many places about the boundaries, sacrifices, the role of the teacher and the consent to cruelty. The critics seemed to forget that we weren’t talking about 7-year-old ballet dancers sent to classes by their mothers, but about adult or almost adult people driven by obsession, who realize that being just good means to be nothing and the real greatness requires a terrible sacrifice. Pain, fatigue, resignation from one's ego and humiliation seem to be a low price when Andrew finally frees himself on stage: would he achieve it without his demanding teacher? Probably not. Was it worth it? This is a question that everyone has to find the answer, depending on the capacity of their own comfort zone.

"Whiplash" drives a morbid ambition, bordering on madness, focusing on only one segment of reality: young Andrew is sacrificed in the name of expression and achievement of perfection, he isn’t able to achieve otherwise. Like Icarus, he seems to be approaching too close to the sun and his fall is more painful.

Naturalistic rapprochements, portraying the inhumanly rapid work of the hands, drawing attention to the unimaginable effort, the titanic work of the human body, add a raw grace to the painting. Although beautiful, "Whiplash" is cruel in its beauty, subjecting the essence of pain to vivisection, operating on the eyes of the viewer on a living, suffering organism. This is an exciting session, there is virtually no action here: it's nothing. It is unnecessary. The stomach goes to throat of tension every time Simmons raises his hands, giving a signal to start the next song. Will he make a mistake? Do not make a mistake?

Chazelle has made a rare art: although his viewer is separated from the instrument by a glass screen and doesn’t feel the vibrations of the drums on the body, shivers run through his back. Jazz has been tethered here in the eye of the camera, only to let it loose in the finale and recall what power the talented musician has. Worth it. In fact, you even have to.

“Inside Llewyn Davis”Ethan (Ethan Coen, Joel Coen, 2013)

Coen brothers don’t allow themselves to be a bouncer, and "Inside Llewyn Davis” certainly will not be their best film, it has every chance to remain my favorite. Not only because of the beard and sad eyes of Oscar Isaac, at the sight of which my knees are soft, but also - if not primarily - thanks to the characteristic yellow and blue filters on beautiful pictures and great music.

Oscar Issaac really sings here and it's just that the clothes themselves fall off the man. He is accompanied by Justin Timberlake in a quite funny and definitely sexy role, intriguingly tense Carey Mulligan, Adam Driver and John Goodman. With such a cast you can’t lose and the Coens don’t even touch on the risk.

Llewyn Davis is unsuccessfully looking for happiness on the New York folk music scene: he travels between the sofas of his next friends, who are ready to help him sleep, he shows too much creativity to do something about his fate and basically let life pass him over from place to place. Apparently, he used to get better at one time, but since he lost a partner in tragic circumstances, he is once in a cart, once under the wagon. Usually under

“Inside Llewyn Davis” seduces with climate, visual side and voices and - as always with the Coens - dialogues and solo performances; John Goodman steals his attention every time he appears on the screen, and the music trio Issac - Timberlake - Driver disarms humor, especially when Driver (later Kylo Ren in "Star Wars") interjects his "OUTER ... SPACE" between the lines of the song.

Despite these insertions and suggestions that smuggle the trailer, the Coen brothers' movie isn’t a comedy and there isn’t much to laugh about. It abounds in scenes for which you want to come back many times and which are the reason why I like to have this film at hand. I've lost count of how many times I've listened to songs sung by Isaac on YouTube and Spotify, and to this day I regret that I couldn’t see this movie one the big screen.

Llewyn plays the first guitar in the film, but he have a partner - a red-haired cat with a friendly face and a meaningful name, which almost to the very end will be a mystery for almost everyone, including the protagonist. A journey in which a musician is accompanied by a redhead in a typical tripartite movie would lead to change: here, however, in the dreamlike atmosphere of New York from the early part of the second half of the twentieth century, this is not so obvious: a buckle, which links the end with the beginning of the story into a neat loop, accentuates the stagnant and stagnant life of Llewyn's dominant life.

And not even that the gloomy artist has no way of escape from the vicious circle: he is simply out of choice and stubbornness in his life. Although it gives the impression of being on the road all the time, in reality it just tramps the same paths, carving deep ruts in them. It stays in a constant suspension somewhere between losing and changing, resisting one and the other. It isn’t surprising, then, that he is so furiously attacked by resentful Jean, accusing him of being a failure.

In comparison with the simple-minded colleagues in the industry (disarming Timberlake) Davis isn’t a nice guy: he admits it to his nephew without exaggeration and it's hard to accuse him of false modesty. Wherever Llewyn appears, there are problems and complications, and the threat of fiasco hangs over the actions taken. However, it doesn’t seem to disturb the protagonist's peaceful sleep on someone else's couch - in this respect he resembles his feline companion who disappears and returns without offering his homesick explanations, keeping only the details of his adventures.

Coen’s don’t judge and don’t try to get a moral: "Inside Llewyn Davis" show a clipping from the life of the main character, but it doesn’t carry a promise of improvement or any change at all. One would like to believe that after a drastic beginning it can only be better and that the protagonist, learned by experience, draws any conclusions, but the ending deprives us of illusions: this isn’t a story about transformation, but rather about circumstances that can lead to change. Or not. Will the next day in Llewyn's life be better than those in which the viewer can participate through the Coen brothers?

“Searching for Sugar Man” (Malik Bendjelloul, 2012)

I have long gathered to watch this film, despite the enthusiastic opinions of my friends, and finally I give it a try one night, assuming that I couldn’t make it to the very end. I was wrong. Almost a 1.5-hour session passed in a heartbeat and I didn’t even notice when this story drew me completely.

I don’t know how a film story about Sixto Rodriguez has to the facts from the life of this mysterious musician. I don’t want to know - I haven’t intentionally verified it after the screening, although I heard many distortions. Nothing is: "Searching for Sugar Man”, despite the huge dose of sugar on a large portion of American dream, sells this beautiful dream in such a charming way that it would be sad to part with the illusion.

The true history of enigmatic music is undeniably intriguing: although it was seen as an exceptionally talented artist comparable to Bob Dylan, he remained unknown in the United States. Did ethnic origin, a not-so-well-known name, or just an unfortunate coincidence - it was important that none of his two albums reached the wide public, and that the musician was lost to the musician.

This alone would be enough for an efficient documentary about wasted musical genius, but Rodriguez's story is far more fascinating. Here is the main problem with writing any text about the "Sugar Man" - if I can advise you something, just watch this movie without reading anything about it before, don’t check on Wikipedia "Sixto Rodriguez" and preferably not watch the trailer. In case you need encouragement, listen to one of the following songs and make the decision on that basis. I can only promise you that you will not regret these 85 minutes.

However, if you crave a stronger incentive and want to avoid the element of surprise, which largely builds the narration in "Searching for Sugar Man", then please: after critically acclaimed debut, Rodriguez disappeared from the American music scene, but in the 70s due to a strange coincidence, his album got through somehow to ... South Africa. There he became a symbol of freedom, rebellion against power and apartheid. Although no one knew anything about the musician himself, his works gained the status of almost anti-system hymns, and the legendary shrouds in the mystery of Rodriguez.

Soon, rumors were born about his tragic death, based on guesses and rumors; eventually the fans managed to reach a musician who - whole and healthy, and surprised by his fame on a distant continent - played a series of concerts in Africa.

In terms of formal terms, "Sugar Man" is an efficiently executed document with a twist, which from the first moments suggests a nearly criminal mystery. Although it catches the eye, how many uncomfortable elements were swept under the carpet on the way - like the secret of lost money from the sale of records - this almost fairytale story is nowhere to be grieved. The viewer is aware that he is seduced, but allows it in the name of taking pleasure in participating in the story.

Bendjelloul and his interlocutors create Rodriguez to a flawless and stained person, whose alleged crystal past is in fact somewhat doubtful even in the context of the textual value of the song "Sugar Man". However: he easily waves his hand at these and other conventions; fulfilled dream about fame captivates with the sincerity of emotions from at least some of the interlocutors and although one can guess the second bottom and numerous silences, the numerous delights on the very work of Rodriguez don’t give grounds for negating them.

Only a few films can be said to provide pure, unpolluted pleasure that so strongly influences the viewer's emotions; the grateful topic certainly helps, but the very concept of the document and the idea of ​​narrating lead the way. "Searching for Sugar Man" is a collage of great music, interesting history and expressive personality of the interested person: these ingredients, given in a thoughtful package, create a film ideal for too long, dark evenings.

#movie #movieflashback #review