Director Todd Field is undeniably up to something different with his new film 'Tar'. Though what it is he's actually up to, what his goal is, I couldn't say. One thing for sure, It's strange. Very. And another thing for sure, it don't work.
Proof?
The first seven minutes are dedicated to scrolling the film's credits. No, not credits for Kate Blanchette and the rest of the cast. I'm talking about Key Grip, Best Boy, Stunt Man #1: the stuff you normally see at a film's conclusion: if you stick around for the credits.
The film's next fifteen minutes feature a one on one interview between the film's protagonist Ms. Tar (Blanchette) and New Yorker Columnist Adam Gopnik (playing himself). The two are seated on an auditorium's stage, the audience silent, Ms. Blanchette / Tar fiercely intense as the Philharmonic Conductor describes her craft. This goes on far longer than you expect. And, in my opinion, far longer than necessary.
The next segment is a lunch or dinner at which Ms. Tar and an associate (Who is he? I don't know. But I should.) discuss the politics and interpersonal relationships going on in Ms. Tar's Orchestra: The Berlin Philharmonic. The viewer is a fly on the wall to this gossip. We have to listen closely because much is mumbled. But never mind: the people gossiped about are people we don't know (yet) and so we - as in 'I' - tune out (perhaps a mistake but I could not help it). There are innuendoes a'plenty here; we learn that Ms. Tar is a lesbian and the man sitting across from her might be, or might once have been, attracted to men.
Here, at about the thirty to forty minute mark, I considered leaving. But I didn't. You, however, may give in to the inclination to draw fresh air and frankly I would not blame you. But if you do consider leaving, let me tell you this:
1. The rest of the film moves at a faster pace. Much faster. In fact the longer it goes, the faster the pace.
2. Ms. Blanchette is, in fact, as fabulous as you've undoubtedly read. If you do stay, stay for her performance, not the story.
3. The gossip you overheard at that lunch / dinner table? As the film progresses it will begin to make sense to you. Completely? No. But somewhat.
4. Conductor Tar is a mighty presence with an 'Achilles Heel'. And that weakness has gotten her into a bit of trouble. But exactly what it is she did - I mean exactly - remains somehow vague. We never doubt her weaknesses, but would probably benefit from some more detail. Such as, What was her relationship to the person who got Tar into trouble. Was the person a student? A member of the symphony?
5. The scenes of Blanchette / Tar conducting the orchestra are fine. They are not jaw-droppingly sensational (as other critics would have you believe). In short, I was. Disappointed.
The way I see it, if you're reading this review it's likely you've already decided to see it. And if that's the case I hope this will assist you in adjusting your expectations. 'Adjusting', as in lowering.
Proof?
The first seven minutes are dedicated to scrolling the film's credits. No, not credits for Kate Blanchette and the rest of the cast. I'm talking about Key Grip, Best Boy, Stunt Man #1: the stuff you normally see at a film's conclusion: if you stick around for the credits.
The film's next fifteen minutes feature a one on one interview between the film's protagonist Ms. Tar (Blanchette) and New Yorker Columnist Adam Gopnik (playing himself). The two are seated on an auditorium's stage, the audience silent, Ms. Blanchette / Tar fiercely intense as the Philharmonic Conductor describes her craft. This goes on far longer than you expect. And, in my opinion, far longer than necessary.
The next segment is a lunch or dinner at which Ms. Tar and an associate (Who is he? I don't know. But I should.) discuss the politics and interpersonal relationships going on in Ms. Tar's Orchestra: The Berlin Philharmonic. The viewer is a fly on the wall to this gossip. We have to listen closely because much is mumbled. But never mind: the people gossiped about are people we don't know (yet) and so we - as in 'I' - tune out (perhaps a mistake but I could not help it). There are innuendoes a'plenty here; we learn that Ms. Tar is a lesbian and the man sitting across from her might be, or might once have been, attracted to men.
Here, at about the thirty to forty minute mark, I considered leaving. But I didn't. You, however, may give in to the inclination to draw fresh air and frankly I would not blame you. But if you do consider leaving, let me tell you this:
1. The rest of the film moves at a faster pace. Much faster. In fact the longer it goes, the faster the pace.
2. Ms. Blanchette is, in fact, as fabulous as you've undoubtedly read. If you do stay, stay for her performance, not the story.
3. The gossip you overheard at that lunch / dinner table? As the film progresses it will begin to make sense to you. Completely? No. But somewhat.
4. Conductor Tar is a mighty presence with an 'Achilles Heel'. And that weakness has gotten her into a bit of trouble. But exactly what it is she did - I mean exactly - remains somehow vague. We never doubt her weaknesses, but would probably benefit from some more detail. Such as, What was her relationship to the person who got Tar into trouble. Was the person a student? A member of the symphony?
5. The scenes of Blanchette / Tar conducting the orchestra are fine. They are not jaw-droppingly sensational (as other critics would have you believe). In short, I was. Disappointed.
The way I see it, if you're reading this review it's likely you've already decided to see it. And if that's the case I hope this will assist you in adjusting your expectations. 'Adjusting', as in lowering.