AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |
Back to Blog
The last bastion cast netflix4/9/2023 that resembles fake news more than fiction.” Richard Brody, movie editor of the New Yorker, calls “TÁR” “a regressive film that takes bitter aim at so-called cancel culture and lampoons so-called identity politics,” while Mark Swed, classical music critic of the Los Angeles Times, dismisses it as “a mean-spirited horror film. In presenting the Best Film award to Field at the New York Film Critics Circle ceremony, Martin Scorsese declared: “The clouds lifted when I experienced Todd’s film.” But “TÁR” has its detractors, and perhaps not surprisingly, much of that criticism has come from male critics. Since its release in October, “TÁR” has received overwhelming praise. Like Bernstein, Tár is also a composer whose style, according to Oscar winner Hildur Guðnadóttir, who wrote the film’s score, evokes 20th-century modernists like Charles Ives and Henryk Górecki. As Gopnik rattles off her accomplishments, they pile up in a pillar of preposterousness (five music directorships of major orchestras, a doctorate in ethnomusicology, and fieldwork with the Shipibo-Conibo in Peru). New Yorker writer Adam Gopnik (as himself) interviews Lydia at the New Yorker Festival about the imminent publication of her book, Tár on Tár, and her upcoming live recording of Mahler’s Fifth Symphony in Berlin. The film establishes her credentials in an early sequence that suggests “TÁR” might be going for a “This Is Spinal Tap”–style satire of classical music. She wants to open her fellowship program to men now that the glass ceiling has been breached. Favoring bespoke suits, she insists on being called “maestro” instead of the industry standard “maestra.” She calls herself “father” of the child she shares with her partner. Eventually, we learn that she has created herself out of whole cloth, erasing her Staten Island blue-collar background in her transformation into a cultural superman. Having adopted the values of the patriarchy, Lydia sees herself as a class apart, a person beyond gender. As a consequence, his protagonist had to be female, since white male privilege and emotional/sexual abuse remain so commonplace. With her imperious manner, transactional relationships, and abject mendacity, Lydia, in an unguarded moment, unabashedly describes herself as “both victim and perpetrator.” Although Field initially envisioned the film in the business world, he switched the setting to classical music, still a bastion of white male privilege. Given Lydia’s unhinged behavior, no wonder she feels like a subject of character assassination. Along with being a music director (in this case, of the Berlin Philharmonic), Lydia is married to the orchestra’s concertmaster, runs a female mentorship program (the Accordion Project), and once was a protégé of no less than Leonard Bernstein. Nevertheless, the similarities are uncanny. She was a first of a very, very, still-tiny subset of female conductors … this is about a character, and it’s about the corrupting force of nature.” Marin Alsop, she’s a storied trailblazer. And I appreciate it,” he told Terry Gross on NPR’s “Fresh Air.” “I think that it’s a really important conversation to have. “To have an opportunity to portray a woman in that role and to make her an abuser-for me that was heartbreaking,” says Alsop.įield, who began working on the project in 2010, before the rise of the #MeToo movement, understands Alsop’s anger: “It’s an incredible statement.
0 Comments
Read More
Leave a Reply. |