Tár
In the midst of the rampaging cancel culture society we find ourselves in, this 2022 film examines yet another victim of the social movement, Lydia Tár. Todd Field’s aptly named Tár is a character study of you guessed it. Lydia Tár. Played by Cate Blanchett, the world-renowned conductor’s (or maestro as she’d demand to be called) past and ever-growing ego begin to catch up to her. What ensues is an engrossing dive into the life and psyche of a self-proclaimed musical genius, anchored by Blanchett’s captivating performance and director Todd Field’s entrancing direction and meticulous writing.
Despite occupying the screen for the entirety of the film, not once does Blanchett ever falter in her calculated and conniving portrayal of Lydia Tár. Whether Blanchett is delivering a bombastic declaration of her character’s godlike musical ability or simmering with jealousy and wrath, visible only through her eyes. She commands the audience’s attention with such ease, regardless of whether the scene is a 10-minute long take. Blanchett’s ability to completely disappear into the role is only complimented by Field’s masterful wielding of the camera. The shot compositions, framing, and blocking are easily the most breathtaking this year thus far. A perfect example of Field’s undeniable talent is the aforementioned long take in which Lydia Tár lectures or rather ridicules a student for differing views. Like Blanchett’s performance, Field’s control over the audience is simply something to behold.
Tar (Blanchett) conducting her power over the orchestra in more ways than meets the eye.
Field’s attention to detail in his slow-burn writing not only leads to an accurate and believable depiction of his characters but he rewards his audience for paying close attention, keeping us engrossed in the trials and tribulations arising in Lydia Tár’s life. Being that the film is a slow burn, however, the third act does feel like everything happens all at once. It’s rather jarring when compared to the meditative pacing of the first two hours. Field’s searing dissection of larger-than-life figures, how society reacts to their actions, and what that means for the consumption of their art in the future and their legacy as a whole could not be more timely. Social commentary aside, the film’s exploration of a character such as Lydia Tár alone is fascinating and enough to keep you engaged for the intimidating runtime, regardless of whether the dialogue might be dense at times.
To the surprise of no one, the sound design of a film revolving around a conductor and their orchestra was impeccable. So much so that at one point, I genuinely thought someone was physically banging on the door of my theater. How the film plays with Lydia’s relationship to sound by placing the audience in her headspace only accentuates the all-encompassing nature of the film. The orchestral pieces featured in the film themselves are effective and left me in a trance whenever they were present.
Gripping and poignant, Tár is without a doubt a highlight of the year. With a performance you can’t take your eyes off of, Blanchett has essentially secured herself a Best Actress nomination. The same could be said for Field whose imaginative, varied use of the camera and intentional direction clamored for the limelight alongside Blanchett. Undoubtedly, like Tár herself, it’s safe to say that the film will snag some accolades of its own.
Verdict: Todd Field’s tense filmmaking and Cate Blanchett’s career-best performance make this an easy Nick Pick and one of the best films this year.