“Tár” Dangerous dynamics of admiration and hatred

A self-director named Lydia Tarr

The highlight of the film is a long take of over 10 minutes in which Lydia lectures to the students at the music school. Lydia dominates the space as if Cate Blanchett had full authority to create the rhythm of the scene. Lydia's unique use of her hands is a major element of her self-direction. Her hand gestures as she directs her speech to each of the students seem like cues from a film director. Lydia is directing the entire performance. Lydia's transcendent behavior in the master class overlaps with the content of a public interview in which she talks about the conductor's control over "time."

Gifted with intelligence, Lydia's gestures and speech always go beyond the audience's expectations. Her attitude can be perceived as a little clownish, but everything she says probably comes straight from her heart. Lydia appears to be innocently enjoying The Game of showcasing her own charisma. Suddenly, Lydia begins to play the piano while imitating Glenn Gould. The theatrical space of the hall. A stage just for her. An uplifting spirit. And then there is a student who disagrees with Lydia's opinion. Her gestures, which seem almost like an expression of narcissism, gracefully accelerate and take on an aggressive attitude towards the student. Lydia finally wields the axe of power and hurts one of the students.

“Tár” © 2022 FOCUS FEATURES LLC.

In the sense that she is the one who receives both the adoration and dislike of the audience on stage, Lydia is a character on par with Henry (Adam Driver) from Annette (21). Both Cate Blanchett and Adam Driver deliver once-in-a-lifetime performances that seem to throw themselves into the film frame. Both Tár and Annette depict the process in which the protagonist loses control over their own self-production.

Lydia's self-presentation can be seen as a technique she acquired to protect her status and dignity in Western elite society. Blessed with great talent, hardworking and intelligent, Lydia is armed with self-presentation. This may be partly because she has modeled herself after male maestros. Once she steps down from the glamorous stage, everyday life awaits her with her partner (Nina Hoss) and small daughter. Todd Field does not judge Lydia in black and white. He delves into issues that go deeper than sympathy or criticism of cancel culture. How does the world create the dynamics that create the axe of power that Lydia swung down on her students? This film takes a sharp look at this.

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