Tár
The film begins with a lengthy conversation (which does drag a little) . . . with a journalist for The New Yorker. We learn that Lydia is the first-ever female chief conductor of the Berliner Philharmonic. Creating a believable artist on film is extremely difficult, but Blanchett makes Lydia feel real – from her coffee-table book ‘Tár On Tár’ to the carefully considered album covers. Surrounding Tár are a selection of beautifully realised supporting characters all of which fight for attention . . . but she remains in total control.
The filmmaking is cool and detached which presents the world of classical music in detailed way, with Blanchett often delivering dialogue in German, record-company meetings, new orchestra members and all the petty egos of the players, become an interesting cinematic journey. Blanchett is great, as always, as a totally uncompromising, self-possessed artist; with a performance that never judges her character. She plays a woman under pressure as her world fall apart.
It’s a gripping, almost ghost-like film, beautifully scored by Todd Field and perfectly performed by Blanchett. But the 158 minutes running feels a little bloated and would’ve benefited with a little editing.
The film is on general release.
