Tar Movie – In some ways, the meaning of TÁR is above. In some ways… his ending shows a lot.
Cruel to you? Or for me? Or for writer/director Todd Field? One of the most interesting things about the movie is that all our answers can be different…
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That’s what he told me in our conversation about the epic character study that casts Cate Blanchett as the eponymous Lydia Tár. See below:
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, his end, and his entire performance is connected to how true that character was to the field… and again… the audience is watching.
It’s a not-so-real-but-true story about someone with a lot of power and fame, influenced by her selfishness, who always abused that power with the people around her… only to suffer the consequences in various ways to suffer
It’s about sex offenders, workplace abuse, violence, celebrity corruption, celebrity culture, the idea of erasure culture or consequentialism, and also… quality music.
It leads the mind in a completely different direction. Are, perhaps, something heavy and difficult to shed light.
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The famous singer Lydia Tár has a few weeks until she records a great song, another feather in the beautiful cup of her career, when a series of her actions and their consequences caught up with her, affecting her life and her dreams. .
The film never leaves Lydia Tár. He is in almost every frame, sometimes repeated by regular shots of him in different ways, which really means that there are many sides, many aspects to this character. For everyone.
Munda, for his part, was not interested in giving any other moral interpretation than that people are annoying. But at the same time he confirmed my reading of the film and his style.
It’s about power and effect, as I said before. In recent years, we have witnessed the magnitude of the #MeToo movement and the so-called erasure culture that follows.
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This is a scary story to say the least, and there is a lot of politics involved.
It shares the news of immorality in the world of traditional music, as well as many in the world of movies and television, or the world of politics. Everything depends on it. From Harvey Weinstein to Bill Cosby to Bill Clinton to Brett Kavanaugh.
At the beginning of the epidemic it was not so, which happened a few months after this story was published in the Atlantic.
The title “Classical Music Has God’s Problem” clearly describes the urgency of the screenplay he was about to write.
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It was Mamet’s rant against the idea of #MeToo being caught and abused and erasing the culture before these things reach the public.
Recently, however, Mamet said that teachers have become interested in pedophilia and pedophilia in general. Both are the main theme of
However, Munda does a great job of not putting his own agenda into the show. His camera stays with Lydia as the accusations surround her, and she points out her role in many obvious violations without ever causing her to commit a crime, not that we see.
Also, he casts enough of a dark shadow on his image that it’s easy to blame him for not doing bad things to others. It’s easy to see why many around him want to take him down… it’s easy to see that the court of public opinion, and the various money forces that support him, would quickly tear him down and throw him into Siberian culture.
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Lydia, who has almost everything in the first parts of the film, loses everything in the last parts.
This alone is an epic Greek tragedy story of art, and I give Munda and his colleagues all the credit in the world for pulling it off.
At the end of the film, Lydia finds herself conducting an orchestra in Southeast Asia. We’re not sure where exactly, but it’s far from the places he’s lived in New York and Berlin so far.
He works hard, as he always does, at his job, but the big show is about to happen when it becomes clear that Tár is directing the score for a video game.
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Up until this point, the story has set things up as if Tár is still a monster himself, right? And he was hunted… by his iniquities?
However, many viewers of the film may not know that there is such a thing when the “monster hunter” scene is a live orchestral performance by a crowd of actors. Yes…it’s a real thing.
And we have! It would be strange to spend the first hours of the film in a world where everyone is thinking, working, talking
In depth on traditional music. It’s a real niche world. Today’s public, as we know, has no patience for such a film, or a book…
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But that’s the whole point, maybe. We landed, like Tár, in a place far away from the recognition of high art. And this all hearkens back to the first scene, where Tár raged a young Juilliard student for rejecting the old greats in favor of white cisgender men.
His academic beatings are repeated as sex with a classmate and posted on Twitter, all of which contribute to his rapid decline.
Whether Munda likes this interpretation or not, these are more than breads which lead us to the conclusion that by abolishing the tradition
Personally, it makes me think that the implication is that by punishing, for example, Woody Allen for his alleged crimes, we are robbing people of a great artist.
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My impression when talking with Munda is that he does not want to commit to such a structure, but sees it as a way for this person and these events, which allows us to discuss the theater, disagree and perhaps come together. other shape or form.
He does not want work, personality or himself to be limited to being organized. But instead he wants to show a few pages of it.
Tár is an animal, he is a hunter, and we decide if it is better or worse…right? Then again… that last frame strongly implies that culture itself is on the cutting edge.
Or are cultures just evolving? And that Lydia Tár’s brutal take on a young Juilliard student was initially someone whose quality of art was too high … ignoring that today’s new versions have their own value … someone he will rely on . When Todd Field’s new masterpiece, “TÁR”, had its world premiere at the Venice Film Festival in early September, the filmmaker and his stars shared a common message during an interview: It is cinema’s job to ask difficult questions, but it is the work of the audience. to. Answer them. The questions asked in “TÁR” – scattered over its almost three-hour duration – focus on the power of electricity, canceling culture and society.
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Field’s titular character, Lydia Tár (Cate Blanchett in a tour de force), is a legendary, world-renowned orchestra conductor with a penchant for power trips and young women. She is also the first woman to take the stage as chief conductor of the Berliner Philharmoniker, and thanks to this winning success, she was able to avoid serious consequences for her questionable behavior – when the film begins. As a well-qualified, well-decorated conductor soon discovers, all good things must come to an end and always at the wrong time.
With his wife and first violinist, Sharon (Nina Hoss), by his side, Lydia is preparing for a historic performance of Mahler’s Fifth Symphony and the launch of his memoir, “Tár on Tár”, when things begin to tear. go down It begins with some unusual encounters – a hidden appearance at a Q&A with New York writer Adam Gopnik, openly flirting with minors, embarrassing a student during a Juilliard class – but it culminates in an affair with a former protégé, Krista. Taylor (Sylvia Flote), goes full sarcastic.
When things start to change, Lydia doesn’t do herself any favors. He does not like to analyze his position on politics – or any other issue. He has a crush on the new orchestra player, Olga (newcomer Sophie Kauer), which puts him at odds with the other players at a crucial time in the rehearsal. And he goes so far as to ask his assistant, Francesca (Noémie Merlant) – who the audience understands to be another former flame – to destroy evidence of his relationship with Krista.
As Lydia extends her hand, and her life and professional success slowly rise, the film does an impressive job of withholding judgment and instead poses a series of questions to the viewer, starting with: When is power used power to use?
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To see this film, which is Field’s first since “Little Children,” which came out 16 years ago, viewers should consider how they themselves are reflected in their answers to these questions, even if they think that one’s actions are not forgivable (or deleted- be appropriate) )? And, maybe
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