In the film that comes out in the cinema on Wednesday, the actress embodies with talent a brilliant orchestra head, intelligence and self -control, taken in the vertigo of power.
By Murielle JOUDET
It’s been a long time since a film, a real author’s film, had not passionate about the public as much, that a fictitious character had not aroused as much enthusiasm and comments. Since its Anglo-Saxon release in theaters, some have offered their interpretative delirium on the meaning of the end, others protest against the misogyny of the portrait which is made of Lydia Tár, brilliant orchestra head that the film that carries His name picks at the top of his career. Note that this is not a biopic: Tár is simply a powerful character for us to want to read his Wikipedia page once the projection is finished.
If he has this thickness, it is that his creator, Todd Field, ruminates this character for ten years: the man is above all actor, director of two feature films, the last of which, the Beau Little Children (2006), date of seventeen years ago. Since then, Field has worked a lot for advertising before managing to produce this tailor-made project for its actress, Cate Blanchett.
It is also on images that have a program value that the film opens: an army of small hands is busy around the making of a tailor -made costume for the Grande Lydia Tár. An opening in the form of preparations for the actress who, for two thirty-eight hours, will play this monster of intelligence, talent and self-control. This celebrated genius which enjoys what Western culture has to offer better: conciliabules in great sifted restaurants; Name Dropping in a prestigious music school; concerts in the best rooms; Stops in hotel rooms around the world. And from one to the other, a train, a plane, a taxi. The world is a great cozy theater in extinguished colors, without limit or obstacle. A world for Lydia Tár.
Power of repression
It must be said here how one actress and character is one, how much Cate Blanchett, an actress with absolute technique, flourishes in this role which is her best: the clarity of her game, her voice Grave and her phrasing Louvoyant hypnotize, formulate a great spectacle alone – she is the metronome of all the scenes. By observing it, we will necessarily think of Isabelle Huppert in the pianist (2001), of Michael Haneke: another big document on a Terminator actress, who used the middle of classical music to include a supreme degree of civilizational sophistication. And, as with Haneke, Todd Field chooses this environment for the power of his repression.
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