Set in the international world of Western classical music, the film centers on Lydia Tár, widely considered one of the greatest living composer-conductors and first-ever female music director of a major German orchestra.
Chuck says:
Filmmaker Todd Field knows the more heinous the villain, the greater the satisfaction in seeing them fall. This simple but satisfying precept is at the foundation of “Tar,” a fictional portrayal of a groundbreaking classical music conductor who falls victim to her own hubris. Cate Blanchett gives a powerhouse performance in the title role, fully immersing herself in the world of classical music as well as her character’s narcissistic behavior, a turn that’s as captivating as it is abhorrent. At times, watching the actress is the only thing of interest as Field’s pacing is at times lethargic, while his narrative structure leaves us with more questions than he’s willing to consider.
Running nearly two and a half hours, Field takes his time setting up Tar’s place in the rarified world she rules. Her path from the Cleveland Symphony Orchestra to the Berlin Philharmonic is riddled with one outsized achievement after another. Awards of all sorts have been bestowed upon her, her work has been regarded as revolutionary and with her autobiography about to be released, she’s holding court at numerous press events, her fans hanging on every pretentious statement she makes.
In preparing for a career-defining performance, we see Tar at work, callously ignoring Francesca (Noemie Merlant) her devoted assistant, taking Sharon (Nina Hoss), her wife and fellow musician, for granted and throwing her weight around to promote Olga (Sophie Kauer), a new cellist who’s caught her eye. It’s Tar’s world, we’re all just living in it…that is until accusations of grooming and sexual misconduct emerge after one of her recent proteges commits suicide. The firestorm that ensues is one even she can’t contain, and the conductor soon finds herself backed into a corner.
The craftsmanship on display is commendable, the acting top-notch across the board, Field fully in command of his material, shepherding his performers through luxurious long-takes that completely immerse the viewer in the story. During the first hour, there are moments when you feel you’re about to be swept away by powerful, all-consuming narrative tide.
Yet, there are two things that prevent that from happening. While the script focuses on a supremely pretentious character, that sentiment leaks over towards the audience as well. If you’re not up on the intricacies of each of Gustav Mahler’s symphonies or have the latest issue of “The New Yorker” at hand, the world this film operates in will be as foreign to you as a Martian plain. To be sure, Field is required to replicate the lofty arena the story takes place in but there’s a sense he’s rubbing it in the faces of those who can’t get past the velvet rope as he does so.
This is reflected in the film’s major misstep as Field refuses to delve into Tar’s background and explore what drives her. We get a glimpse of this in the final half-hour, and it would be irresponsible of me to reveal any specifics. However, the brief bits provided regarding Tar’s childhood, as well as her response to all that happens to her, is given short shrift. That he would dangle these potential explosive narrative nuggets before us and leave them unexplored is cruel, resulting in a lack of closure.
“Tar” is a movie you admire more than enjoy, one that, to its credit, doesn’t soon leave you but not for all the right reasons. Blanchett is mesmerizing and there are many stand-out moments. But I also can’t shake what might have been, had the film indulged in the character’s past as much as her troubled present.
3 Stars
