2022 – Tár
This was a really good movie. Not only was the acting top-notch, but it was socially relevant, exploring issues that are significant to the times in which we live. The drama was deep and engaging, and the script was incredibly intelligent. It deals with themes of women in male dominated roles, power and the abuse of that power, and the effects of cancel culture in our society. It was a movie that made me think about whether I agreed with what happened in the story, and what characters could have or should have done differently to change the outcome. It also made me think about how celebrities have to deal with similar circumstances.
It always amazes me when I hear about a celebrity behaving in a manner that is morally, ethically, or even physically reprehensible. With all the infamous downfalls of well-known people in the public eye who have had their lives and careers ruined because of wildly inappropriate behavior, how can it be that they think they will not get caught, and will not have to suffer the terrible consequences of their actions. But in this film, the lifestyle and behavior of the prestigious orchestra conductor Lydia Tár, played by Kate Blanchett, is the cause of her downfall.
Through talent, skill, and knowledge, she has attained a high-profile position as the conductor of the Berlin Philharmonic. She is brilliantly intelligent, well-spoken, and charming. But she has a habit of showing favoritism to women to whom she is sexually attracted. It is implied that her predatory behavior might also include sexual affairs and conquests, though it is never explicitly stated.
The film revolves around Lydia’s behavior towards a female cellist named Olga, played by Sophie Kauer, though it is evident that this is just her current fascination. It is clear that showing professional favoritism towards certain women is a pattern that is continually repeating itself. Her wife, Sharon, played by Nina Hoss, is the principal violinist of the orchestra, her personal assistant, Francesca, played by Noemie Merlant, is obviously in love with her. And there is a subplot about a former professional colleague named Krista, who has fallen out of favor with the Maestro, who has committed suicide.
As Lydia’s stress and troubles mount, she begins losing her grip on the reigns of her life and her sanity. Her obsessive attentions towards Olga are noticed by other people in her professional circle, causing offense to some and indignities to others. Her legal troubles, caused by Krista’s parents who are suing her over their daughter’s death, take an emotional toll. Her wife leaves her and prevents her from having any contact with their daughter, Petra, played by young actress Mila Bogojevic. And eventually, despite all her brilliance as a conductor, she is forced to step down as the head of the orchestra. In the end she is reduced to taking what work she can, conducting in Southeast Asia, playing video game music for an audience full of cosplayers.
While the entire cast did a fantastic job, Blanchett’s acting was phenomenal. This roll could not have been played without a fundamental knowledge of music and orchestral conducting. I am an amateur musician, myself, and have sung with orchestras for many years. I can tell when a movie conductor knows what they are doing, and Blanchett most certainly did. Not only that, but there were a few scenes in which she had to play the piano, and she clearly “did her own stunts.” And as we have come to expect from the actress, she absolutely nailed the dramatic scenes. I might even go as far as to say, this must be a contender for one of the most powerful performances of her career, and that’s saying a lot. She was amazing!
But you can’t please everyone. There were a small number of critics who didn’t like the movie. To quote Wikipedia, “In an interview with The Sunday Times, conductor Marin Alsop shared her dislike of the film, calling it ‘anti-woman’, saying ‘I was offended: I was offended as a woman, I was offended as a conductor, I was offended as a lesbian. To have an opportunity to portray a woman in that role and to make her an abuser – for me that was heartbreaking.” But to that I say, if a story like this could be told about a predatory man, why couldn’t it be told about a woman, and be taken just as seriously? The movie wasn’t about a female lesbian conductor. It was about a conductor who happened to be a female and a lesbian. It was about a person in a position of power who abused that power and was eventually forced to deal with the consequences of their behavior. And where is the drama in a movie about a person who does nothing wrong, and simply performs her job competently? That would be a pretty dull film, don’t you think?
Tár was a very good movie that made me think, and that is never a bad thing. It was a glimpse into a world that few people really know, and it was handled with care and sensitivity. But the themes it explored could easily be applied to other careers and other situations. It doesn’t matter what kind of status you have achieved, it will not, nor should it, protect you from the consequences of being a predator of any kind, professional, social, or even sexual. Behavior like that is never acceptable, and while cancel culture is usually viewed as a negative thing, if it puts a stop to abusive behavior, maybe there is some value in it.