Tar de Force

How much you enjoy Tar will depend largely on how you feel about a film that begins with the credits. There's good reason for it (everything in Tar is considered down to the smallest detail) but if you can't get on board with that kind of self indulgence then you are in for a long two and a half hours.

One of the reasons for beginning with the credits may be that we are about witness a career in reverse. An opening interview lets us know that Lydia Tar is at the top of her profession, a conductor with a dream resume and an EGOT who is about to complete her masterpiece symphony recording. Over the next couple of hours we see her slipping down the mountain as past deeds and the way she treats people in general come back to take a bite out of her perfect life.

The film solely follows Kate Blanchett's Tar for the entire runtime, we see all events from her perspective and she is in every scene. Blanchett put its an astounding performance, indeed it is hard to imagine many, if any, other actors who could have been up to the task. That the whole show rests on such a powerful but subtle turn is Tar's greatest strength but also its only real weakness. Its a nuanced performance that fits perfectly but added to the characters flawed nature it can at times leave proceedings feeling cold and hard to connect with emotionally. Like its titular character Tar is a film of craftmanship and intellect not emotion, although the themes of hierarchy dynamics and abuse are powerful.

If you can get on board with the full force filmaking style then you will find Tar a breathtaking wonder of a movie with something to think about in every scene and something to ponder long after the (second lot of) credits roll.

9 successful recordings out of 10 symphonies.

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