Tár is a psychological drama from writer/director Todd Field (In the Bedroom, Little Children) that features a disturbing depiction of genius undone by human behavior. It’s also is a masterful showcase for Cate Blanchett.
Lydia Tár (Blanchett) has a prodigious career as a brilliant classical composer and conductor for a German orchestra. Mentored by Leonard Bernstein and having won the highest accolades, she is an advocate for female representation in classical music. With her female partner and their young daughter, her life is full and brimming with music students, business meetings, concert rehearsals, and a new book. When she repeatedly avoids urgent messages from a female in her past and begins to focus her attention on a talented female cellist, it leads to larger, more sinister issues. When the past catches up with her, truths emerge that threaten to upend her personal and professional life.
Told from her point of view, Lydia can be demanding and precise in her art, and her position of power and decision making often impact other people’s lives whether it be students, musicians, or associates. The question soon becomes, “Does she take advantage of her position for selfish reasons?” As she becomes more self-consumed with her personal sins, she begins to experience strange sounds and a growing paranoia. Ultimately, her compulsive behavior and past transgressions come back to haunt her.
This
meticulously researched and authentic screenplay that embraces the creative process
and the politics of music, also gives a fascinating take on issues like ‘cancel
culture’. Blanchett’s acting is on a different level, incorporating physicality
and nuance into creating this complex character. It’s not a matter of ‘if’ but rather ‘when’ she gets an Oscar
nomination. She’s that good. And that final shot is stunning.
****
of ****stars (for Blanchett fans)
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