If you took Tar as an intellectual exercise, it’s a masterpiece.
The drama from American filmmaker Todd Field does so many things so well, chief among them Cate Blanchett’s commanding performance as a complex and narcissistic conductor.
Lydia Tar is a preternaturally gifted musician. She’s a composer, a pianist and the chief conductor of the Berlin Philharmonic. As a woman thriving in a staunchly male-dominated position, Lydia has much to be proud of.
She has an important concert coming up as well as a new book.
She also happens to exhibit much of the same toxic behaviour evident in powerful men. She uses and disposes of people in her life, especially young women, while her estimation of her talents doesn’t allow for even an inkling of humility.
Her intense drive, arrogance and narcissism leaves many in her wake, including her assistant Francesca (Noemie Merlant) and her wife Sharon (Nina Hoss). They are disposable, and subservient to Lydia’s desires.
But a series of challenges – mostly of her own making – will shatter Lydia’s perception of her world and her place in it.
Tar is a searing portrait of a flawed and compelling character, a beautiful dance between director and actor to craft a figure you can’t stop watching. It more than holds your attention.
Blanchett has been sweeping the awards circuit, picking up statuettes like she’s a magnet. And it’s easy to see why. All that skill and allure is right there on the screen, from the character’s physical mannerisms and the modulations in her voice to the ferocity of her glare.
It’s also a character who, despite her occasional monstrosity is simultaneously relatable. While we judge, we also envy her unapologetic embrace of her id. Lydia isn’t indulging in Wolf of Wall Street excess, but she does indulge, even if it’s stealthy and understated.
Tar also features great production design, a seductive and slow-burn pace, striking photography by Florian Hoffmeister and a visceral score by Oscar winner Hildur Gudnadottir. It’s also evocative world building.
When it comes to ticking the boxes of what constitutes accomplished cinema, Tar is holding a thick, black texta.
So, why does Tar feel so cold and emotionally distant?
It becomes more a film you can appreciate for all of its achievements and craft than you do for how it feels. There are choices it makes that holds the viewer at a distance, even though you can see why it’s been done.
When you consider that the main character is a narcissist and the film views everything and everyone through her lens, it makes sense that the supporting characters flit in and out of scene without much to ground them. If Lydia doesn’t see them as whole people, then Tar can’t either.
While that’s logical, it’s also austere and highlights why it’s difficult to emotionally connect with Field’s work.
It’s more concerned with asking cerebral questions than it is asking emotional ones.
Much like Lydia herself, Tar is a skilful, polished and fascinating piece of work, but it’s missing a beating heart.
Rating: 3.5/5
Tar is in cinemas from Thursday, January 26