Tár (2023)

There seems to be universal agreement over the fact that Cate Blanchett’s performance as conductor Lydia Tár in Todd Field’s latest is superb. There’s much less accord over the film itself, which has split opinion since its opening at the Venice film festival last year. Lydia is juggling personal problems- a former student of hers has recently committed suicide and there’s questions being raised as to her involvement in the student’s mental health- as she conducts a major German orchestra, as well as running a mentoring scholarship programme for women. This programme is infused with rumours surrounding Lydia having affairs with her students; rumours that her wife Sharon must be aware of but until now has trusted Lydia.

Early on in Tar there’s a magnificent scene in which Lydia is teaching a masterclass at the Juilliard School, challenging a student when he relays that he doesn’t listen to Bach because, essentially, he’s a white man whose personal life the student doesn’t agree with. After Lydia has delivered a terrific monologue about how important it is to separate the art from the artist in these cases, using the student’s own argument against him in suggesting this is exactly the kind of closed minded attitude that could be counterintuitive to him in his own future, the student walks out, calling her a bitch. This is where Tár is at its best, showing us real life scenarios like this that are becoming more and more frequent.

Complete intolerance of a differing opinion can be extremely dangerous; and indeed later in the film, Lydia’s more than reasonable argument and opinion has been filmed, edited, and released online, a move that results in an investigation into her teachings. There has been plenty of chat about the film being shrouded in cancel culture, and although having your own opinion should be a right, Tár does an excellent job of showing us how in this day and age often that’s only acceptable if the opinion falls in line with the general or promoted narrative.

However, what Todd Field does so well is to present this argument but always toeing the line as to whether Lydia is actually guilty of the things she’s being accused of. As she slowly loses a grip on her life (and reality), the audience raises questions as to her innocence in these matters; Lydia clearly has issues but it’s never black and white with regards to her guilt.

Until that is, in the final quarter, where the film slightly loses its way. There’s a showdown of sorts between Lydia and the manager of her fellowship programme, and it’s over the top to say the least, resulting in a disappointing finale, somewhat undoing the good work of the previous couple of hours.

Tár, arguably until its final portion, is a terrific exercise in the importance of being innocent until proven guilty, and how that’s a concept that is swiftly facing termination- a completely false accusation can wreck a person’s career or indeed life. Tár is absolutely worth your time, and there will be many that completely disagree with this film fans’ opinion on the film; usually the mark of, at the very least, an interesting couple of hours at the cinema. 7.8/10