The release of “Tár” was accompanied by much excitement from gurus in the film world. The release comes 16 years after the celebrated actor and filmmaker Todd Field released his debut. His previous film, “Little Children” (2006) left fans anticipating his next release, which created a lot of excitement around “Tár.” With the equally celebrated Cate Blanchett portraying the film’s protagonist, the performance has left movie fans conspiring that she could be a contender for Best Actress, if not for the film, Best Picture, at the 2023 Oscars.
More like a fictional biopic than an original story, “Tár” focuses on the rise and fall of Lydia Tár, a prestigious orchestra conductor. The film opens with a live audience interview for The New Yorker between long-time staff writer Adam Gopnik, as himself, and Tár, played by Blanchett. Gopnik inquires upon Tár about her experience as a highly successful composer and conductor for the Berlin Philharmonic orchestra, and how she navigates her esteemed position while also facing criticisms of her gender and sexuality, being an openly lesbian conductor.
Throughout the scene, viewers are immediately inquisitive: “Is this a real interview? How have I not heard of Lydia Tár?” Many have found themselves discussing how they were waiting for the title card “Based on a true story” to appear in big white text after the opening credits.
Those who questioned can rest assured: The character is fictional.
Blanchett’s depiction of a celebrity who has been corrupted and overwhelmed by fame and success is highly convincing. Throughout the movie, things begin to fall out of place in this manner for the decorated conductor-composer as she attempts to navigate family ties, romantic power dynamics, transactional relationships, her conducting position at the Berlin Philharmonic and scandals that begin to overtake her, all in a post-pandemic world.
Field’s decision to set “Tár” in the present comes as a relatively new experience for filmgoers considering its acknowledgment of the COVID-19 pandemic. Two years after the beginning of the worldwide pandemic, there have been many debates by film professionals and critics alike about whether movies should depict the pandemic in fiction. In its 2022 debut, “Tár” makes a stride in its own way by making a movie set in the status quo, reflecting a post-pandemic world. Field’s script even details the struggles of conducting an orchestra while wearing a mask, quarantining away from others and the excitement of coming back into a crowded space after spending so long isolated.
The film is a dramatic character study, and the slow evolution of Blanchett’s performance from sophisticated to irrational can only be described as explosive, like we are watching a ticking time bomb counting down, slowly awaiting what seems like an inevitable crash and burn.
The production and post-production creative choices are undeniably well done, and Blanchett’s performance is undoubtedly impressive. Her commitment to her characters is always fantastic, and her performance in “Tár” is no exception. Despite this, the overall plot meanders along, taking its time to unfold the real conflicts and character intentions. For most of the film, the audience is left clueless in their seats, watching 3-minute long one-takes of Blanchett berating a Juilliard student, seemingly fruitless scenes of her running through tunnels and pacing around her large concrete apartment late at night when she cannot sleep. Clocking in at nearly 2 hours and 40 minutes, it’s no surprise that “Tár” seems to drag on in certain scenes.
A feeling of impending doom and self-destruction is amplified by the film’s minimal editing and lack of quick camera movements. This style helps portray the true-to-life feeling that was created from the beginning of the film. The camera sits like an omniscient being in every room and cuts allow the focus of a scene to shift naturally between the speaker and whoever they are with, capturing expressions in a way that avoids being choppy or jarring.
Music selection is also carefully executed throughout the movie, with minimal diegetic sound — music external to the movie. Almost all of what the audience hears is the surroundings of Blanchett’s character, whether it’s the orchestra, her frequent piano playing or the cars on the street. Lydia Tár is extremely sensitive to sound, and this is made clear in the movie through masterful sound design.
This impressive controlled environment made “Tár” more of an experience than most movies are able to provide. The film provided a unique insight into the lives of celebrities in the present day, allowing the viewers to empathize with certain aspects of Tár’s life, despite her undeniably corrupt actions. Despite its length and tendency to meander, the film’s elaborate plot, production quality and unanswered questions certainly qualify it for a re-watch, if not a visit to the theater. Fans of psychological thriller and drama should definitely see the movie; it’s not too often a fictional biopic is released that has fans questioning their own realities.
