Tár Movie Review

Director Todd Field has a wealth of experience, having acted in many films before transitioning to directing in recent years. His major projects are few and far between, often taking time to come to fruition. With the leading role for his latest written directly for Cate Blanchett, we have an entire production resting on the shoulders of a single performer. Luckily for film-goers, Tár is a superb story from start to finish and a film that delivers far more than a powerful music-filled flourish.

Living in modern Germany, Lydia Tár sits at the peak of classical conducting prowess; she lives an affluent, globe-trotting life with her partner Sharon (Nina Hoss) and adopted daughter Petra (Mila Bogojevic) split between conducting the Berlin Symphony Orchestra and teaching younger musicians. However, behind all of her success lies a contentious personality and questionable methods. Accusations begin to grow at every level and Lydia’s high position comes under threat. What we have here is a detailed chronicle of a person’s downfall, one that never leaves its primary perspective and shows every step of the process. Through extended sequences of conversation and performance, we learn everything there is to know about the venerable conductor while bearing witness to her internal struggle. At two and a half hours in length, the audience is encouraged to absorb every note and syllable, something Tár accomplishes with flying colours.

Cate Blanchett’s performance is simply astounding; with Lydia being in every scene, the actress is constantly juggling both complex dialogue in multiple languages and the energy of concert performances. Her frustration and impatience are two key emotions that regularly enter the scene, growing over time and damaging her reputation. This is handled in a very realistic and organic fashion; clearly the film wouldn’t work without Cate’s excellent acting. Yet the side characters are also handled authentically; the conversations with Sharon feel mature and well-realised, as do those with various figures in the music industry. Mark Strong is great as a snide investment banker and younger actors also make their presence felt. Between the aspiring cellist Olga Metkina (Sophie Kauer) and Lydia’s assistant Francesca Lentini (Noémie Merlant), they reveal much about Lydia’s character and the effect of her behaviour on others. Much of the more intense emotion comes from both of them. When more suspicious events start to catch up to the protaganist, we see how they exacerbate an already difficult situation for her.

Despite its modest thematic grounding, Tár features its fair share of cinematic techniques. The most crucial element is sound editing; from the metronome that keeps Lydia awake at night to the many instruments at the concerts, we get a sense of her perspective, someone who has mastered the feel of music from top to bottom. Throughout the film, many real life orchestras are used to deliver a natural, diegetic soundtrack and every performance is sublime. It conveys the illustrious musical skill at the heights of the industry while connecting fully to the character at the centre. The wealthy side of society is shown through costume design, prop work and expensive looking costumes that represent status. Finally, the camerawork makes heavy use of perspective shots, placing one character out of focus to emphasise the distance between them and Lydia.

As a character study, Tar is a near-impeccable showcase of acting talent. It dedicates an immense amount of detail to its lead protagonist, showing her activities, relationships and ultimate demise in a way few modern dramas can match. It’s very heavy on speaking and interactions, but those looking for compelling drama will be immensely satisfied.

Rating: 4.5/5 Stars (Brilliant)