CateBlanchett turns in one of the best performances of the year in director Todd Field's ambitious new drama, Tár. It hits theaters on Friday, October 7.
“Had she said no, the film would never have seen the light of day,” director Todd Field said in a statement about his ambitious new drama, Tár. He was, of course, talking about the film’s star, Cate Blanchett, whose reputation as one of Hollywood’s greatest living actresses certainly precedes her at this point. Despite that fact, it would be easy to initially shrug off Field’s comment as nothing more than a pandering or superficial remark.
Contrary to what that latter comment suggests, Tár is by no means a straightforward film. Not only do its first 10 minutes revolve entirely around a public conversation between Blanchett’s accomplished composer, Lydia Tár, and real-life New Yorker writer Adam Gopnik, but it moves at such a steady, measured pace that it becomes impossible to predict the trajectory of its story until the landing is already underway.
The fewer details that are given about Tár’s conclusion, including its memorably acidic final shot, the better. However, Field does work early on to fill Tár with a sense of slow, impending doom, and he employs a number of simple but effective techniques in order to do so.
Part of that disconnect is the result of the operatic, muscular visual style that Field brings to Tár. Here, Field fully embraces the kind of widescreen aesthetic that can make every room and environmentthat Blanchett’s Lydia moves through feel massive and open. The director’s use of long, unbroken takes also allows him to highlight Blanchett’s own inherent magnetism.
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