by Foster Harlfinger, Contributing Writer
TÁR centers itself on composer and conductor Lydia Tár (Cate Blanchett), a character with such precise nuance and specificity that future viewers of the film would be forgiven for assuming she were a real person. One cannot discuss the film without first acknowledging Eighth Wonder of the World, Cate Blanchett’s towering performance as the film’s title character. All 158 minutes of TÁR belong to Blanchett, as she meticulously dissects what might be the most complex character of her career.
Brilliantly written and directed by Todd Field, TÁR is the textbook definition of a character study, as we watch Lydia’s sense of composure steadily unravel in the face of unfortunate, but not entirely unforeseeable, circumstances. To discuss the nature of Lydia’s journey could spoil the experience of seeing the film for yourself, but needless to say, Field’s intricately written screenplay feels surprisingly topical for a 2022 release.
Though obviously a character whose position of power results in a host of subtly narcissistic and unlikable traits, experiencing the film through Lydia’s point of view gifts us access to her few redeeming qualities. For one, she is obviously an incredible talent. In one extended sequence, Lydia delivers a lecture in which she singles out a young, burgeoning Juilliard musician for his unwillingness to perform the music of J. S. Bach. We simultaneously empathize with the student’s obvious discomfort, while marveling at Lydia’s undeniable mastery over every aspect of her craft. However, lest we get too enamored with Lydia’s accomplishments, Field wisely introduces an eye-opening dynamic between Lydia and her partner Sharon (Nina Hoss). It is through Lydia’s interactions with her partner, daughter, and loyal assistant Francesca (Portrait of a Lady on Fire’s Noémie Merlant) that Field reveals the true depth of his protagonist’s grandiose sense of self importance.
TÁR is Field’s first film in 16 years, following his masterful debut feature In the Bedroom and the wildly under-discussed Little Children. His direction here is immaculate — perhaps even a cut above his previous two films — but as usual, his dialogue steals the show. The film pours over with references to various musicians and music-related jargon, but it is impossible not to remain transfixed, even when the references soar over the audience’s heads at lightning speed. Of course, it is impossible to dissect the accuracy of the film’s musical allusions without intimate knowledge of the subject, but one gets the distinct feeling that Field did his research. His thoughtful and often humorous writing is so intelligent that it makes you feel smart by simply listening to it.
With pacing comparable to last year’s Drive My Car, it goes without saying that the experience of TÁR will not be for everyone. The film will be a chore for those not in the right headspace, but the craft on display is simply undeniable. As one fascinating example of Field’s attention to detail, he chose to give key characters their own musically-influenced gaits when they are seen walking across the screen. Lydia, the high-strung, no-nonsense maestro that she is, walks at a brisk 120 beats per minute, while her young, often oblivious cellist Olga (newcomer Sophie Kauer) ambles along at a mere 60. One would never notice such a detail without first being told, but such directorial exactitude is what makes TÁR the wholly engaging film that it is in spite of its lengthy runtime.
Lydia should not make for a likable protagonist, but between Field’s exceptionally well-written moments of unexpected humor and Blanchett’s never-ending array of subtly “gifable” reactions, we can’t help but enjoy every minute of our time with her. She is a character who commands your full attention, and the actor-character dynamic remains endlessly fascinating, given the way Blanchett maintains a perfect sense of control in her performance of a character in constant fear of losing her own. Blanchett devours this role with hawk-like precision, conveying a sea of meaning with each facial nuance and vocal inflection, and it would be difficult to argue against Blanchett winning Oscar number three for her impeccable work in this film.
Score: 9/10
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