'TÁR' is a towering achievement, for Todd Field and Cate Blanchett both. Read our full review:
, debuted in 2006, and in the years since we haven’t heard much of anything from one of the more promising American filmmakers to emerge in the early part of this century. But in all that absence, Field hasn’t been inactive. He’s been productively observing all of culture’s many defining undulations, as is vividly evident in his new filmis about a composer and conductor, Lydia Tár renowned the world over for her interpretations of classical music.
We later see Lydia teaching a Juilliard master class to a small group of aspiring conductors. Here the chumminess of thetalk gives way to something haughtier, more biting—because, we can assume, Lydia’s audience has shifted. She’s still a commanding presence on whose every word we hang, but her profile is suddenly flecked with a menace not seen when she was performing for those she might more readily see as peers.
In these establishing scenes, and really throughout the film, Field shrewdly illustrates both the magnificence of Lydia’s genius and its threat. She can be accommodating of her lessers, but just as often she—privately and publicly—debases them. She refers to those who question or otherwise frustrate her as "robots" and "nobodies." She toys with people’s careers to suit her whims and manipulative schemes.
The film is loaded with references to high-culture figures, to literature, to music theory. It all sounds pretty impressive. Which is the point: how often have we been so glamoured by smarts and talent and accomplishment that we miss an obvious pattern, or disregard contrary narratives as bitter noise?offers itself up as instructive tool, diligently tearing down the specific mythos that Field has worked so meticulously to create.
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