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Luisa 2022-04-23 07:01:06
Drama often extremes reality, which itself is indeed one of the charms of drama. But taking it to extremes and ultimately changing the nature of the reality it is intended to represent is a bit too much. In the film, mentor Fletcher hopes to achieve qualitative transcendence by forcing students to break through their limits, and with Newman, he did it. This is a story of mutual conquest between the powerful, and there is nothing wrong with it. The problem is that it destroys the nature of the music—the music in the film is no longer music, but a tool for the director to create dramatic conflict, which is disrespectful to the "music" itself. If it is a subject that has to live and die, such as competitive sports, it may not be a problem. But jazz is free, and on top of that, the music is visceral and deep. Taking music as the theme, making such a typical American film that still does not escape heroic personal redemption seems vulgar. Of course, the film is full of conflicts and struggles and must be a hit. (Towel City)
Extended Reading
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Andrew: But is there a line? You know, maybe, you go too far and you discourage the next Charlie Parker from ever becoming Charlie Parker?
Terence Fletcher: No, man no, because the next Charlie Parker would never be discouraged.
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Terence Fletcher: It's good to work, huh? How 'bout, uh, Caravan? Bar 105.
[the band prepares; Ryan Connolly is on the drum kit]
Terence Fletcher: Two bars for free. One, and two, and-
[Band begins to play for a moment only to be immediately cut by Fletcher]
Terence Fletcher: That's not quite right, Connolly, um-. I'd like to try Neiman on this.
[Ryan gets up from the kit and is replaced by Andrew]
Terence Fletcher: Maybe now's the time for Neiman to earn the part. One, and two, and-
[Band plays for a moment only to be cut by Fletcher again]
Terence Fletcher: Nope, I guess not. Tanner?
[a reluctant Andrew gets up from the kit and is replaced by Carl Tanner]
Terence Fletcher: One, and two, and-
[Band plays and is immediately cut off again]
Terence Fletcher: Motherfucker! Connolly, get your ass back on the kit!
[Ryan replaces Carl on the kit]
Terence Fletcher: We will stay here for as long as it takes until one of you faggots can play in time. One, and two, and-
[Band plays and is cut off yet again]
Terence Fletcher: Looks like that might be all night. Neiman?
[Andrew replaces Ryan]
Terence Fletcher: One, and two, and-
[Band plays and is cut off]
Terence Fletcher: Not my fucking tempo!
[to the rest of the band]
Terence Fletcher: Sorry guys, hate to put you through this. If you need to fuckin' take a dump, or get a coffee, whatever, now might be a good time because we're gonna stay here until I find a drummer who can fuckin' play in time. I apologize to the musicians. Seriously, take ten, twenty, a fuckin' hour.
[to the drummers]
Terence Fletcher: You hear me, cocksuckers? You better start shitting me perfect four-hundreds! Connolly, get your fuckin' ass back on the kit!