REVIEW: TÁR

4/5

Tár Wars.

158 Mins. Starring: Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner & Mark Strong. Director: Todd Field. In: Theatres. 

'Tár', starring two-time Academy Award-winning actor Cate Blanchett ('The Aviator' and 'Blue Jasmine'), also nominated for this Oscar psychological powerhouse (she would have won if it wasn't for the epic 'Everything Everywhere All At Once' performance of real superpower by Michelle Yeoh), may hilariously remind me of an advert for Boddington's beer starring Manchester's own Melanie Sykes in the 90s ("would you like a flake in that, love"). But there's nothing funny about one of last year's best pictures that now finds itself in the cinemas of the Far East of Japan on the weekend of Blanchett's birthday. Still streaming around the rest of the world. Taking on cancel culture with a comprehensive look and a nuanced nosedive into our social and psychological world, from our love and relationship to celebrity, 'Tár' is the most challenging and provocative piece of art house cinema from last year. The Oscars may be over, but best pictures and actresses never really die. Even if they don't win in the end. 

Focus on this feature. Forget the controversy of a deleted magazine article on Michelle Yeoh's Instagram that was just telling a true story, you only have to watch the Variety 'Actors On Actors' sit-down feature between the Oscar winners (and you should to gain real insight into the industry) to see how much respect Yeoh and Blanchett have for each other. Before and after the theatre that remains the annual Academy Awards. After the Oscars, outstanding movies still hold their stage like an opera. That's why they were nominated in the first place. And this phantom haunts. Still, Cate Blanchett deserves her flowers. The amazing Australian actress can do it all in Hollywood.

Right from the Middle Earth of 'The Lord Of The Rings', all the way to the Marvel of the first female villain in 'Thor' (and her 'Ragnarok' ravishing baddie was a God. It was about good, damn time). Whether she's styling in the 'Oceans 8' power of the woman, or playing the background brilliantly in epic ensembles like Guillermo del Toro's 'Nightmare Alley', or 'Don't Look Up', the throwback actress is always front and centre with dynamic dramatic acting and even comedy chops. Yet from 'Elizabeth' to 'The Curious Case Of Benjamin Button' in love with a de-aging Brad Pitt (aren't we all), it's her compelling performance in the adaptation of Patricia Highsmith's 'The Price Of Salt', as 'Carol' alongside the acclaimed Rooney Mara that is my personal favourite. And not just because she shares a name with my beautiful mother (thanks for sending the book, Mum). 

This is where the brilliant Blanchett tackles her toughest role yet however. Under the definitive direction of 'In The Bedroom' director Todd Field with his first feature since the 2002 'Little Children' of Kate Winslet, Jennifer Connelly and Patrick Wilson a sweet sixteen years ago. Field aiming for the Schrader stands of defining directors. Cate plays Lydia Tár, a fictional renowned conductor who trained under Leonard Bernstein (soon to be played by 'Maestro' Bradley Cooper), but is accused of sexual misconduct amongst other nefarious behaviour. It's a timely mediation on whether we should separate the art from the artist (Kanye, I'm looking in your direction), or whether we should drop said heroes that have become zeroes like a bad habit (yet, we're still biting our nails). 

Cate courts no controversy herself in a spotless career, but her best work and acclaim (for 'Blue Jasmine') was directed by no other than Woody Allen. But then begins the separate issue of how many people worked on that film, from behind-the-scenes to screen, and whether they should suffer the same fate as those they unknowingly worked for. In short, they shouldn't. But I still haven't picked 'House Of Cards' back up. It's not a good enough hand. Sometimes, front and centre, it just doesn't feel right. 

Blanchett boldly and beautifully plays this role perfectly under Field's conduction, bringing sympathy for the devils of this rolling stone. So much so, I'm wearing a turtleneck under a blue shirt as I write. But it's just a style thing, I don't side with Tár, but still I won't tar and feather her like some critics.  Besides...SHE'S NOT REAL! Haunted with 'Personal Shopper' like profoundly artistic scenes. Let alone, the most frightening metronome since Morgan Freeman's in 'Se7en'. Blanchett braces with her impact. Mastering German and the conductor's wand for this role that she puts her whole body into, resulting in one of the best of her already bountiful body of work. She's already an icon. But rocking the Dylan shades under a ball cap like a celebrity on their off-day she reminds us of her biggest tour de force portrayal when she played the most accurate depiction of Bob Zimmerman himself, all frazzled curls and long nails, in 'I'm Not There'. The times may be a-changin', but accented artists like this are never just blowing in the wind. 

Todd has a field day looking at how those in positions of power wield that like an iron first or wandering hand. This formidable film that really goes through your mind like DiCaprio's 'Aviator' for a gruelling, but compelling two hours and thirty-nine minutes is a character study on not only celebrity, but this culture we live in now where we can end someone with the gavel swipe of a smartphone. Case in point the final scene in this movie before everything cuts away except the thought-provoking nature that will dig into you long after the wand comes to rest on the lectern. Have celebrities been getting away with having carte blanche for years (or "Cate Blanc-hett" as Channing Tatum hilariously terms it in '21 Jump Street')? Is some of the cancel culture rooted in clickbait culture mining people's personal and professional lives and loves for the virtue signalling of like mining? You, of course, are the judge, to be or not to be. 

Still, in this day and age where we are ready to upheaval the lives of people we don't even know (but feel like we do, or are entitled to, because they're in the public eye) for as little as something they said, should we really be judge, jury and executioner? Sure, there needs to be accountability...but on both sides. Yes, if something said by the Kanye and Kyrie's of the world spreads hate towards people and religion than something needs to be done. It doesn't matter how much I like their music, or moves on the basketball court. But stepping away from my fandom of them is my decision...and I refuse to push it on others. Especially on social media. It's like Chris Rock said on his 'Selective Outrage' Netflix special about cancelling R. Kelly, but listening to Michael Jackson. And he knows this more than anyone. You know what happened to him. 

A truly telling moment is at Juilliard when Tár defends Bach to a BIPOC pangender student who dismisses him for his misogyny. She makes some valid points, teaching us all a lesson, but when she leans in a little too hard, getting too personal, the results are devastating. Especially when doctored like a clock on Homer's scandal in 'The Simpsons' when everything can be captured and "encapsulated" by a smartphone. Telling the whole story, 'Tár' offers us more perspective and debate for both sides without trying to cancel actual cancel culture itself. Because after all, many should be held accountable for their crimes, which the Academy ignored (for the most part) 'She Said' does perfectly. But we can't change minds if we're always chastising them in this fickle world where forgiveness seems to be forgotten and that notion of love, peace and understanding is fast becoming hate, war and misinterpretation. 

What this GAGA like Lady feature does greatly though is honour their whole crew before the cast on the opening credits of this film like old Hollywood. As for the rest of the cast? They're all in. Noémie Merlant as a long-suffering assistant, nursing more than the need for a pay rise. The long-suffering wife of Nina Hoss, widowed by more than the work, despite literally being in Tár's oily corner. Sophie Kauer's catalyst for all that comes next. Julian Glover's liquid lunch with a bitter aftertaste. Allan Corduner's nervous pen-clicking disposition, which shows the awe and fear the genius of this maestro inspires and influences. Not to mention the always reliable Mark Strong (like you've never seen him before). All amaze. Even The New Yorker's Adam Gopnick (as himself in an inspired interview of labour of love length) and the voice of Alec Baldwin (no stranger himself to controversy throughout his career, especially recently) appear as themselves.

But it's the Critics Choice, Venice Film Festival Volpi Cup BAFTA and Golden Globe winning Best Actress Cate Blanchett that delivers the masterclass. And Todd Field who lays new ground on this rocky road to come. Call out and challenge any injustice you see with all your heart, but have one when it comes to others you may catch in your crossfire. That's how we soulfully keep the spirit. We all seem to be throwing stones at a stage that was once reserved for roses, but do we simply smell sweet with none of our own B.S.? Accountability starts at home, and we shouldn't stop with our search for justice and a free world on an equal playing field. But perhaps, in some cases, we could all conduct ourselves with a little more grace in how we go about other people's business and that of the real courts beyond opinion. Then, we can be entertained again and engaged with a higher art form that paints an imperfect picture that we can all look at with appreciation...despite the cracks. TIM DAVID HARVEY. 

Further Filming: 'Blue Jasmine', 'Little Children', 'Whiplash'.