c/o Sam Hilton, News Editor, Head Archivist

“From the Argives” is a column that explores The Argus’ archives (Argives) and any interesting, topical, poignant, or comical articles that have been published in the past. Given The Argus’ long history on campus and the ever-shifting viewpoints of its student body, the material, subject matter, and perspectives expressed in the archived article may be insensitive or outdated and do not necessarily reflect the current views of The Argus or any of its staff. If you have any questions about the original article or its publication, please contact Head Archivist Sam Hilton at shilton@wesleyan.edu. 

Eight years ago, on Monday, Oct. 27th, 2014, Contributing Writer Dan Bachman ’17 wrote a review entitled “‘Whiplash’ Needs No Drumroll For Jazz Drama” on the then-new film “Whiplash,” starring Miles Teller and J.K. Simmons. In this article, he wrote about how he felt like a boy playing his saxophone again while watching this jam-packed jazz film that has since become a media sensation. His article describes the beautiful dichotomies in “Whiplash” and gives a recap of some highlights of the film. The interesting thing about Bachman’s article is his analysis of the film in an allegorical, educational context.

“[It was] a textbook inspirational teacher story à la ‘Dead Poet’s Society’ and ‘Stand and Deliver.’” Bachman wrote. “The film won the Grand Jury Prize at Sundance this year, a decidedly earned accolade.”

As time has passed, “Whiplash” has become so much more of a cultural staple than Bachman predicts in his article. The year following the article’s publication, the film received two Academy Awards and even a Grammy nomination demonstrating its place as a staple of beautiful cinema.  

Bachman also discusses similarities between his life and the plot at great length. 

“To prove [a rival sax player] wrong, I spent days working on a short solo that I can still play today,” Bachman wrote. “Now, I am no great musician, but that doesn’t change the fact that this early torment was quite formative for me. Which is why I was floored by Damien Chazelle’s ‘Whiplash.’”

Although Bachman knew the theme and plot of the film—addressing the chase for greatness that Chazelle attempts to draw out within the movie—he could not have predicted how it would be received in the modern day. I find it fascinating that his analysis holds up to the test of time, and that “Whiplash” is now a staple of modern film thanks to its crazy concept of how greatness can ruin a person.

Lastly, Bachman even sees the biggest backlash the film would receive as time has passed on due to Simmons’ character.

“Simmons hurls racist, homophobic, and generally repugnant insults like they are ammunition,” Bachman writes.

This further demonstrates Bachman’s ability to predict the film’s long-term reception. One of the largest criticisms of the film is how Terence Fletcher (Simmons) develops as a character and the abusive language he often spews at his students. I find it a little odd that although Bachman wrote the article a couple of months after the release of the film, he was able to identify these key ideas that would simultaneously drive the movie to success and hold it back.

Overall, although I find it quite interesting that Bachman was able to point out key features of the film which would be its driving engine to success, it still seems he underestimated the success it would achieve. Bachman demonstrates through his own life that the movie will show viewers how success can take one to their limits, propelling “Whiplash” to become the sensation we know it as today. 

Aris Dashiell can be reached at adashiell@wesleyan.edu.