Review: "Tár"
A narrowly flawed showcase for a virtuoso Cate Blanchett performance.
Cate Blanchett as composer Lydia Tár in “Tár.” (Focus Features)
Given how Cate Blanchett is an acting maestra, it seems fitting for her to play an actual conductor in Tár who’s meant to take charge of the scene. It’s ideal for her to play a conductor or literal royalty like in Elizabeth because she has a commanding screen presence and is arguably one of the best we have working today. When adding that Tár is the first film in 16 years by Oscar-nominated writer and director Todd Field, that makes the film quite the cinephile event. For the most part, it indeed is.
The best place to start is obviously Lydia Tár herself: Cate Blanchett. Commanding in literally almost every frame of the movie, Blanchett’s portrayal of the difficult composer also involves a figurative de-glamming. While Lydia appears sheen in her attire, her radiant appearance contradicts the unsightly monster she proves herself to be. Someone who’s a world-class EGOT-winning composer that intimidates people for sport and will use those around her as a means to an end.
An early scene where she guest lectures at Juilliard is a prime example of Lydia’s domineering nature. During that sequence, Max (Zethphan Smith-Gneist), a BIPOC pan-gender student, confronts Lydia over their lack of interest in studying problematic white male composers like Bach. Max is physically shaken while Lydia remains calm and collected, circling them like a predator observing scared prey. Immediately, Max can tell Lydia will escalate the tension between them both and be proven right as Lydia ridicules them in front of the whole class.
Even with Tár being the Cate Blanchett show, co-star Nina Hoss manages to stand out as Lydia’s wife and concertmaster Sharon. Hoss’ eyes alone express Sharon’s constant debacle between feelings of devotion and wariness. Meanwhile, Noémie Merlant gives the film more soul as Lydia’s neglected assistant Francesca. Similar to Nina Hoss, even when just staring in the background, Merlant conveys Francesca’s own apprehensions about enabling Lydia’s behavior. Especially when Lydia’s resurfacing past starts becoming her own downfall.
The superb actress trio make Tár compelling even when it’s occasionally undercut by its extensive length and superfluous sequences of Lydia hearing strange noises while jogging or wandering her own secondary apartment. Those scenes are made effective by Florian Hoffmeister’s chilly cinematography and the crafty sound work. Yet, for me, they just felt like filler.
It is when Tár becomes more laser-focused on its central performances where it really thrives, highlighting Todd Field’s exemplary skill set as an actor’s director. Cate Blanchett giving the performance she does is enough of a reason to see it. Although I wouldn’t say it’s her absolute best performance the way others have because Blue Jasmine and Carol are still fighting for that title, her work in Tár remains a mighty reminder of her sheer greatness.
Grade: B