06 Nov Tar Review

TAR

dir. Todd Field, starring Cate Blanchett

Tar, a film centered on fictitious music composer Lydia Tar as she prepares a recording of Gusatv Mahler’s Symphony No. 5, brings audiences one of the year’s most fascinating character examinations. Starting with a symposium conducted by the New Yorker’s Adam Gopnik that sets the stage for who the character is and her importance within the international world of classical music, the film methodically shows the slow unraveling of the highly revered conductor and the domino effect of the actions of a selfish, self-important person.

Tar is hands down one of the best movies of 2022. Between the deftness that writer/director Todd Field has with the character and the story, along with Cate Blanchett’s scathing, sneering performance, the movie’s juxtaposition of the public life versus private life of celebrities is on full display here. At its heart lies a character who has spent a lifetime crafting a certain image of herself, an image that those in her immediate circle have bought into and in turn perpetuated themselves, ultimately creating a monster that can’t be contained. Possibly the movie’s greatest trick is convincing the audience to buy into the hype themselves, only to have the rug pulled from under them after some examination of who exactly this person is. Abusive, manipulative, and eager to maintain every shred of power she possesses, Lydia Tar is an emotional terrorist, bullying her way through life and forcing others to bend to her will. This makes for a fascinating observation of her character that is conveyed masterfully by Field, Blanchett, and her supporting cast.

Tar is steeped heavily in classical music. Conversations had between her and her mentor, or other composers, provide little to no reference point for those not familiar with famous artists, or their music. This gives the film a grounded hyper-realistic feel while also providing a source of frustration for those lost in the conversation. The takeaway of themes, however, prove that Tar could be set in almost any profession that exists; classical music being this particular stand-in, the story could be repurposed for Hollywood, or gaming, or a bowling league. Don’t let the aloofness of the profession deter, it’s the journey the character takes that matters more than the vessel that story is delivered through.

Starring Cate Blanchett, Tar is fully and completely her film from beginning to end. Blanchett has always been the subject of many a list when it comes to high tier talent working in film, but Tar goes lengths to prove why she’s cemented her place amongst the greats. Elitist, haughty, and obscenely arrogant, Lydia Tar is brought to life by Blanchett in every gesture and every glance. An extremely extroverted performance, Blanchett steals every scene from every actor, delivering meaty monologues in long takes that she seems to toss out easily, almost carelessly. One particular scene, and one that ends up being the crux of the entire story, Blanchett’s Tar delivers a scathing dress down of a student while guest lecturing at Juilliard. While that scene has implications further down the road, it’s Blanchett’s performance that shows the first real hint that the person we’re following throughout this story isn’t what her public persona has lead fans of her work to believe she is. There’s a mean, manipulative streak to Lydia Tar, one that surfaces multiple times throughout the film in various ways and it’s the oscillation between her public warmth and private coldness that’s the real her that Blanchett excels in portraying.

Directed by the acclaimed Todd Field, his first film in 16 years, Tar goes beyond a mere examination of a conductor who’s prepping to direct an upcoming live recording of a bucket list item. Written by Field over a 12 week period, the movie delves into many layers of life including classism, and the current so-called ‘cancel culture.’ Weaving all these elements to present the complicated life of a woman who’s fiercely worked to project an image of success, Field’s ability to create a character so fully realized and fleshed out that many online mistook the movie for a biopic focused on a real person is a testament to just how solid his writing is. From a technical standpoint, Tar is one of the year’s best; staggeringly fluent camerawork throughout, while giving the scenes time to breathe, combine with a sublime score from Hildur Guðnadóttir and the London Contemporary Orchestra to create one of the year’s best pairings of sight and sound.

Overall, Tar heralds a staggering return to form for director Todd Field, as well as possibly the best work of Cate Blanchett’s career. From the first frame to the final, Blanchett captivates the audience, delivering a performance that is multifaceted and covers a wide array of her acumen as an actress. At just under three hours, the film feels its length, but that runtime is necessary for providing a full scope of the downfall of a person who is at the very top of their game. An easy contender come awards season, it’s a must watch for any fan of original, expertly crafted character driven films. Tar is currently in theaters.

Review by Darryl Mansel