To me the subject is the classic Hubris/Nemesis drama played out at the upper tier of Orchestral Music.
The opening Julliard class introduces T'ar and her flaws are on display. The antagonistic confrontation between the male student with both the twitchy leg and a load of "issues" shows that Lydia has lost empathy.
Clearly she has climbed the musical mountain to near the zenith. Her teaching has become more of a court performance where the minions are there to bask in her greatness. It's also clear that Hubris is going to meet nemesis. The only question is where and how will the classic struggle take place.
As Robert Caro noted: "Power Reveals" meaning that the goodness or badness is already there only waiting for the injection of power to bring it to the surface.
This could have been about any conductor set in the Orchestral landscape. The choice of Kate Blanchette only adds the feminist/anti-feminist element and that only makes for controversy for the film.
I did have a chuckle in the early morning scene where the clock radio goes off and she muses on who is conducting the orchestra... landing on "Aarugh MTT!" (FWIW: I personally like MTT)
Like Sisyphus, T'ar tumbles down the mountainside and lands at the bottom.
Also, like Sisyphus she starts pushing the rock up the mountain again. Hubris meets nemesis once again.
There are elements of the character that remind me of real conductors (who shall remain nameless) that I have encountered in my life.
It was entertaining but so predictable as the tales of the ancient Greeks are so imbedded in western culture that we know them despite who is cast in the lead role.
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The first is that Lydia Tár's fictional biography is too similar to Marin Alsop's, almost to the extent that viewers might make the assumption she is based on Alsop. It's not merely a matter of being a woman, there's a distinct possibility of affecting Alsop's reputation directly.
The second is that orchestra conducting has had one of the most persistent glass ceilings of any field. Women are better represented among national heads of government than among music directors of full-time orchestras. While society as a whole may be ready for a female antihero, presenting a female antihero in the world of orchestra conducting remains risky because women still have so little representation there.
Responding to Gordon, Yes I intellectualize. And I still like the psychodrama of "Black Swan".
I'm pretty sure that movie reviewers haven't had a chair in a community orchestra, let alone a top-tier international orchestra. So, the comparison to Alsop is conjecture based on the slimmest of links - T'ar has a resume similar to Alsop. Nothing more.
I don't see the connection between a real life woman conductor and an over dramatized idea of what a consummate professional conductor who happens to be a woman actually is like.
Hence I see it as another retelling of the formative stories of our species. Hubris, Nemesis, Sisyphus, presented to an audience that has probably never read the classic stories in English (forget classical Greek).
T'ar isn't a psychodrama. It's a warning to those who take themselves too seriously, that have lost empathy, who are sure that they will get the boulder to the top of the mountain, only to have the little misstep and suddenly all comes crashing down.
Blanchett gives a good performance as usual. But I don't the story is strong enough to sustain interest over its 2 hour + run-time.
I don't think there are enough movies about women leaders or women in general. I'm looking forward to seeing the biopic of Indira Gandhi entitled "Emergency", which is scheduled for release sometime this year. Not sure if it will get worldwide release or not.
Putting a man in the role might make it easy to frame the story as interrogating men behaving badly, or masculinity or patriarchy, which is certainly a story that can be told, but to flip the script in this way might be framing the story in terms of questioning power more broadly, and the idea that all we need to do is break certain glass ceilings and then everything will be gravy. (my Marxist tendencies tell me that people don't necessarily align themselves in solidarity with their minority groups when they see their class position as being at risk). I think George's Nemesis/Hubris framing attests to something along the lines of what I'm saying.
I guess now I'll have to see the movie and see if my guess is anywhere close. I'm usually skeptical about classical music movies as being full of shallow signifiers.
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