Cate Blanchett is at the peak of her powers in 'Tár,' a magnificent cinematic symphony.
Gopnik rattles off an impressively varied list of Lydia’s professional accomplishments: not just all the prestigious orchestras she’s conducted but also the honors she’s received as a pianist, a composer, a teacher, an author, a scholar of Peruvian Indigenous music and a rare overachiever whose work straddles music, television, movies and theater.
The ability to perform greatness is itself a key component of greatness, as this pretty great movie knows. So is the illusion of approachability: In her self-deprecating asides and post-Q&A chitchat, Lydia extends the audience-flattering notion that we could even begin to understand what she does. She can describe, with breathtaking precision and self-assurance, the beauty of a composition or the methodology behind her hand movements.
If there’s a governing logic to the story, it’s that in nearly every scene, Lydia is performing, and in every performance, she’ll reveal something she didn’t necessarily intend. That’s true whether she’s having an obligatory drink with a deep-pocketed investor or teaching at Juilliard, where she cruelly humiliates a student, Max , in a virtuoso extended monologue.
That means turning a blind eye to some of Lydia’s less savory secrets, the concealment of which largely falls to an ambitious personal assistant, Francesca . The details of Lydia’s indiscretions are left ambiguous, but the conclusions we can draw from them are almost banally matter-of-fact.
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