|Cate Blanchett Tár|
(Spoiler Alert: This review gives away a major plot development)
Mahler's Fifth Symphony which had formerly claimed two movie outings, now claims a third with Todd Field's Tár, each one with very different aims and intentions. The first, at least to my knowledge was Visconti's turgid Death in Venice from the Mann novella appealing to the tragic queen in us all, with Dirk suffering for his art under a ton of melting mascara, pancake and hair dye with which Visconti indulges, fatally for me, his overriding obsession with the decorative minutiae of the film down to the doorman's underpants, and the ubiquity of the uncontrolled zoom lens.
The only link to the past now is the first violinist in this young band whose young male player has a "nervous" knee shake, something that had provoked her admonition of the young soloist, also displaying a nervous knee in the first act of the movie who timorously decried Bach because he was a patriarchist. But even that potentially interesting “tic” reference has no real meaning any more.