TÁR: An Unflinching Fall From Grace That Features A Powerhouse Performance
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.
Cancel culture and Me Too have been the focus of many films already, but Todd Field takes a unique approach when tackling the meaty subject in his latest film, TÁR. For starters, so many stories revolving around these concepts tend to center almost exclusively around men, and Field smartly sets his around a lesbian, not only broadening the discussion of power to the opposite gender, but other sexualities as well. This pivots the conversation away from narrow claims that men abuse power and gets a little closer to the truth with its broader sense of humanity; it’s not men that abuse power, it’s people — gay/straight, man/woman; anyone with power will find some way to use and abuse it.
Secondly, so many films of this nature will vilify the wrongdoer for their transgressions and align itself with the victim, but — and this is an aspect that may frustrate viewers — TÁR neglects to even take a side. Field keeps the film pretty firmly rooted in the perspective of its titular character, the illustrious composer Lydia Tár, but as much as his camera participates in each scene (especially in its immaculate blocking), it functions more as a passive observer, a fly on the wall watching someone’s ruin. We’re never see anything damning directly, but it’s there on the periphery and in the subtle ways Lydia functions. An event from the past bubbles up and pierces the surface of Lydia’s bubble in pretty monumental ways, but we aren’t given any flashbacks or scenes with the accuser; we basically observe the accused as they navigate the situation, without Field impressing a specific reading onto us.
This gives the film a refreshingly intellectual edge; it’s not only interested in discoursing with the times, but also creating a conversation with the audience. It’s lengthy journey opens the door to many questions, many of which are left open-ended for each viewer to parse. Field’s interest is purely in Lydia’s character, who she is and how she constructed her identity and the false notion of her own invincibility. After Field knocks down all the walls that hold up that persona, he stands back and asks, who is she now?
The great Cate Blanchett luminously shines at the center, giving a commanding powerhouse performance that ranks amongst the best of her career. The role is a demanding one, and Blanchett fully rises to the challenge. When combined with the film’s sharp writing, Blanchett makes Lydia Tár into a totally absorbing entity that feels like a living, breathing person (rather than a creation). Her performance is elevated by Noémie Merlant and Nina Hoss, the two prominent support roles that surround her, and Field’s impeccable direction.
When it’s all said and done, the experience provokes us to ask ourselves if an abuse of power is worth full-on cancellation. So many times, that’s where the story ends, but Field pushes past this point and thoughtfully probes a bit deeper. As TÁR crescendos to its memorable final note, Field hilariously turns what many may consider a “monster” into a Monster Hunter in a head-scratching, yet fitting bit of humiliation that illuminates Lydia’s tenacity and resilience. It’s a film that eschews the black and white to revel in the grey, and it gives its audience a lot to stew on.
Recommendation: If you’re not bothered by long runtimes and are looking for an intellectually-stimulating film with great performances, TÁR has you covered. Cate Blanchett’s absolutely commanding performance (which is likely to catch an Oscar nomination) is reason enough to experience this three-hour opus.
What do you think? We want to know. Share your thoughts and feelings in the comments section below, and as always, remember to viddy well!