TÁR
2022 | Dir. Todd Field | 158 Minutes
"Don't be so eager to be offended. The narcissism of small differences leads to the most boring conformity."
At the height of her career, universally acclaimed composer/conductor Lydia Tár prepares to record the culmination of her life's work. However, past indiscretions begin to catch up with her, exacerbated by her continued thoughtless mistreatment of those within her sphere of influence. Her personal and professional accomplishments swiftly unravel.
Writer/director Todd Field's Tár is an engaging and provocative film centered on a deeply flawed protagonist. As if subverting the standard biopic narrative, the picture plays like the typical story of the triumphant rise of a fictional virtuoso, except in reverse. After efficiently introducing the much-lauded musical savant in the form of an interview at the New Yorker Festival, firmly establishing her numerous accomplishments, including EGOT status, the narrative gradually reveals the disturbing history of its subject's impropriety, namely her verbally demeaning teaching style, and her reckless womanizing and emotional manipulation of younger musicians. Though she is not entirely without redeeming qualities, such as her love for her young daughter, and there is evidence of a conscience in the form some truly creepy nightmares, her intrinsic defects as a human being undo the years of work she spent honing her talent and even carefully curating her persona as revealed by the final act of the picture. Addressing topical concerns regarding the often-abused privilege at the disposal of public figures, and the sudden onset of social and professional reckoning, Field and lead performer Cate Blanchett craft a delicate balance that illustrates the admirable tenacity of unrelentingly talented people as well as their potential for deplorable behavior.
Taking on a horror film aesthetic, Tár is at its very best when illustrating the moments of dread experienced by the conductor. Exploring the anxieties haunting the shrewd and seemingly impenetrable woman, the frequent hallucination and nightmare sequences suggest that she ultimately isn't so much a conscience as she chooses to repress it. The distorted faces and auditory anomalies during these moments are genuinely disturbing, complementing the collapse of the musical genius's life of calculated, controlled stability. The intensity of these sequences slowly bleeds into the waking world until it culminates with a truly epic meltdown after Lydia is ousted from her position and she storms the stage in a pathetic attempt to reclaim the podium from her replacement.
Blanchett is phenomenal, giving one of her best performances ever, skillfully presenting the mindset of the central character with a certain delicate balance that elicits empathy but never sympathy. In a stand-out supporting performance as Lydia's suffering assistant Francesca, Noémie Merlant exudes a quiet dignity worthy of admiration. The supporting cast also features Nina Hoss as Lydia's concertmaster wife Sharon, Sophie Kauer as cellist and Lydia's prospective love interest Olga Metkina, Julian Glover as Lydia's mentor Andris Davis, and Mark Strong as the manager of Lydia's fellowship program.
A mesmerizing character study of an unrepentant narcissist, Tár presents a thought-provoking portrait of a problematic artist, depicting the downfall of an exceptional but controversial person with foreboding inevitability, challenging the audience to weigh her selfish and abusive actions against her undeniable talent. Topical though the themes may be, the film impressively avoids heavy-handed preaching. By presenting the entire narrative from the perspective and disturbed psyche of its troubled and troubling subject, the picture leaves judgment solely at the discretion of the viewer.
FRAGMENTS
- Uncommon for modern films, the picture begins with the credits for the technical staff
- The late-film reveal of Lydia's humble Staten Island origins, along with her birth name of Linda Tarr, is amazing, making her poor judgment and downfall all the more unfortunate, if not outright tragic
- The final scene depicting Lydia conducting a Monster Hunter video game concert for cosplaying fans as the absolute career nadir for a working conductor is somewhat amusing
- Hildur Guðnadóttir composed the scores for this film and another 2023 Best Picture Oscar Nominee Women Talking
MCU CONNECTIONS
- Cate Blanchett (Hela in Thor: Ragnarok)
