Film review: ‘TAR’ by Nick Gardener from ‘Built For Speed’

With Tar, his first feature length film as director since 2006’s Little Children, Todd Field mixes high fibre Ingmar Bergmanesque intellectualism with Michael Haneke’s growing sense of threat and some of the meticulous framing and clinical creepiness of Stanley Kubrick. It’s a very impressive but difficult combination requiring patience and work from the audience as they have to negotiate some long, perplexing and slow-moving sequences, the significance of which only becomes apparent later.

In a remarkably visceral and layered performance, Cate Blanchett plays Lydia Tar, the world-renowned conductor of the Berlin Philharmonic Orchestra. In a lengthy interview at the start of the film we learn of her astonishing resumé and stature in the world of music and high culture. She seems to live a rarefied existence as this exulted figure who conducts her life with the imperious control she exerts over her orchestra. Her pristine world begins to fracture, however, when accusations surface of sexual misconduct with employees and videos of her berating students in very politically incorrect fashion appear on social media. Someone also appears to be deliberately menacing her as she starts receiving odd gifts and hearing strange noises in the apartment she shares with her wife Sharon (Nina Hoss) and adopted daughter (Mila Bogojevic). Is this actually happening to her or is this a product of a disturbed psyche?

This is not accessible big budget cinema, this is Hollywood does dour European arthouse film and some will find this a difficult movie to embrace.  For the first half hour, many audience members may feel alienated from the film as it indulges lengthy and seemingly mundane conversations Lydia has about the bureaucracy and politics of the classical music world. Steadily though, like the gathering notes in one of the symphonies she conducts, the character of Lydia Tar begins to emerge and we see a person who is at once brilliant, admirable and contemptible.

Lydia’s complex and ambiguous character has left the film open to criticism about its political stance.  As a rising tide of public resentment builds against Lydia, the film delivers some questionable views about so-called cancel culture.  Some have suggested that it’s conservative and even retrograde in its views.  I don’t think we can entirely dismiss those concerns but this film is more nuanced than that.  It’s does critique social judgement but also examines the need to hold people in power, such as Lydia, to account.  It also explores the impact on a woman of breaking into the upper echelons of a male-dominated world and having to embrace an aggressive form of power.  It appears Todd Field was not interested in black and white morality and easy answers.

While Blanchett’s performance is unforgettable and possibly the defining one of her career so far, it doesn’t overwhelm the film.  There are indelible performances from a host of supporting players, particularly Nina Hoss, Neomi Merlant as Lydia’s quietly bitter assistant Francesca and Sophie Kauer as a feisty young Russian cellist who has just joined the orchestra and caught Lydia’s eye.

As much as a fascinating character study and psychological drama, this is a sensory film.  Field has fashioned a remarkable aesthetic that wonderfully incorporates an atmospheric, autumnal and at times grim looking Berlin.  He also makes superb use of Mahler’s imposing fifth symphony (which Lydia is preparing to conduct), to intensify the drama and create a sense of threat.

This film will not appeal to everyone, despite a few splashes of humour and action it offers few of the usual pleasures of Hollywood cinema.  Those looking for a more challenging film experience, however, will revel in this odd, unsettling and superbly crafted film.

Nick’s rating: ****

Genre: Psychological drama.

Classification: M.

Director(s): Todd Field.

Release date: 26th Jan 2023.

Running time: 158 mins.

Reviewer: Nick Gardener can be heard on “Built For Speed” every Friday night from 8-10pm on 88.3 Southern FM.

 

 

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