Cate Blanchett composes a despot and brilliant conductor in “Tár”

A “complicated” story full of “layers and interpretations”. This is how the film defines tar its protagonist, cate blanchettwhich dazzles with an immense and nuanced interpretation of a conductor who goes from the top to oblivion due to a case with echoes of “#MeToo”.

And where the narration hovers over the name of the Spanish tenor Placido Domingoaccused of sexual abuse by several women.

With two oscarfour Golden Globesthree BAFTA and the first Goya International Spanish cinema, which was picked up last year, the Australian actress, once again nominated for an Oscar for this work, no longer has anything to prove. But, in every project she takes on, when it seems impossible, she outdoes herself.

On this occasion, under the orders of the director Todd Fieldbecomes Lydia Tar, a queen in a world of men, an imaginary woman called to be the first to conduct a prestigious German orchestra. And to make this genius credible, she is also despotic and dark, blanchett he learned to speak German, to conduct orchestras and to play the piano.

But when the actress talks about her performance in the film, she hardly refers to the effort made and passionately defends a character that earned her the Volpi Cup in it venice festivalfor which he won the Golden Globe and that places her as an absolute favorite to take what would be her third oscar.

“For her (tar), directing is like breathing, so he had to find his way of breathing. I became very obsessed with (the director) Carlos Kleiber and his ambivalent and tortured relationship with his work, and with simon rattle”, he explains in an interview with various media.

His idea, he explains, was to find out how far the authority of a conductor goes, why he ends up being “an autocrat” and, incidentally, to show “how the world of classical music changed when the Berlin Wall fell.”

The fiction takes place in the German capital, where Lydia Tár, a passionate, cultured and cold musician, famous throughout the world for her concerts and compositions, falls from one day to the next from the highest point into an abyss of accusations that collapse her universe, to the disbelief of his wife (a role played by the German actress Nina Hoss) and their daughter.

Her impeccable façade cracks when allegations of abuse of power arise, in a behavior with which she replicates that of her male colleagues. There is even a moment in the tape when the room of Placido Domingo.

“There is a conscience (in the case of Sunday) in the complexity, the minefields, the traps… Many of those people who are dotted with cases like yours are mentioned, but the script goes very slightly through them ”, he points out.

In his opinion, “it is as if you saw Picasso and you could only imagine what happens outside of his studio. But do you look at the guernica and you think that? It is one of the greatest works of art in history. I think healthy criticism is also important. I am not more interested in the questions than in finding an answer, ”she concludes.

a movie for her

fields wrote this story for blanchettwhich supports 158 minutes of an elegant film on its shoulders, but which would be far from the success achieved if it weren’t for the work of the Australian.

For the actress, who is also in a relationship with a woman in the film Carolthat Tár is a lesbian “is no more part of her identity than other aspects”, on the contrary, “it is so natural that she does not need to talk about it”.

blanchett define tar as “a complicated story”. “She is a successful woman who rises to a position of power (…), but the people around her also demand that authority. That’s another aspect of this movie. The most amazing thing to me is all these different layers and interpretations.”

“She is capable of enormous power and also great generosity, but somehow she is being swallowed up by the system she has admired for so long. And she is about to turn 50, another incredible change, ”she sums up.

“Once you get to the top you realize that you can only go downhill anymore. We find her at the end of a cycle, when she questions herself. What happens now, what’s next? And, perhaps, what follows is to blow everything up.”

But the film that will be released in Argentina in mid-February “neither gives answers nor judges,” he warns.

Source: EFE

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