Tar: a movie review by Alex First
Surely an Oscar awaits Cate Blanchett for her extraordinary multilingual, piano playing performance in Tar.
She plays Lydia Tar, internationally acclaimed classical musical conductor and composer, and maestro at the Berlin Philharmonic.
Considered one of the finest exponents of her art in the world, she is widely sought after.
In short, Tar is brilliant, a perfectionist, self-centred and driven, but also a hard task master on herself and others. She always struggles to sleep and switch off.
The movie starts with Tar interviewed by Adam Gopnik at The New Yorker Festival, where she is quizzed about her approach and inspiration.
Her latest projects involve publication of an incisive book and an upcoming performance of Mahler’s 5th Symphony.
Tar has a partner in sickly Berlin Philharmonic concert master Sharon Goodnow (Nina Hoss). The pair has an adopted young daughter, Petra.
With her busy schedule, Tar relies heavily upon her personal assistant, the sensitive Francesca Lentini (Noemie Merlant) for support.
Events unfold as Tar and the orchestra intensively prepare for the live recording of Mahler’s 5th.
Some are, and have been, sidelined. Among them is a young woman named Krista Taylor, a former member of the fellowship program for aspiring female conductors that Tar founded.
Others, such as new Russian orchestra cellist Olga Metkina (Sophie Kauer) are given a leg up.
The cracks in Tar’s make-up begin to mount.
Tar is an astonishing, complex and sophisticated psychological drama from writer and director Todd Field (Little Children).
It has been brilliant written and executed.
For much of the way, it is a puzzle. We must try to figure out just what is going on, as we learn more about the way Tar operates.
More than halfway through the film picks up momentum as the intrigue builds and the shocks take over.
Blanchett is astounding in the lead … in the way she carries herself and keeps delivering. Her character is all consuming and dominant.
What stands out is her intensity in performance, particularly noteworthy when she is conducting. She morphs into Lydia Tar.
She is not the only one who impresses though.
There is vulnerability and frustration in Noemie Merlant as her ever-present assistant with her own aspirations.
Nina Hoss presents Lydia’s partner Sharon as much more grounded than Tar.
Sophie Kauer is spirited as the talented Russian cellist, with a strong sense of self belief.
I also admired the worldly experience that Julian Glover brings to his role as Andris Davis, Lydia’s former teacher and confidante.
A movie grounded in classical music is nothing without a compelling score, which Hildur Guonadottir delivers.
Tar requires concentration to follow all the threads, but it is well worth the effort.
It is undoubtedly one of the great films of the past decade and scores a 9 out of 10.
Tar (M) – 158 minutes
