TAR: Are You Being Gaslighted?
by Paulette Reynolds
March 8, 2023
by Paulette Reynolds
March 8, 2023
"I think Pauline Kael would have agreed with this perspective on Tar."
Via Twitter * Peter Vincent Cocktail/@ZiggyCocktail
Via Twitter * Peter Vincent Cocktail/@ZiggyCocktail
TAR
2022
Director: Todd Field
Screenplay: Todd Field
Starring Cate Blanchett
2022
Director: Todd Field
Screenplay: Todd Field
Starring Cate Blanchett
Did you know that Lydia Tár is an anagram for Marin Alsop?
Well, that got your attention…
Tár is director Todd Field’s film about power and gender, using the classical music industry as his backdrop. Cate Blanchett is the central character, fiercely intense as the abusive maestro, who dominates everyone around her, to remain at the top of the classical food chain.
Well, that got your attention…
Tár is director Todd Field’s film about power and gender, using the classical music industry as his backdrop. Cate Blanchett is the central character, fiercely intense as the abusive maestro, who dominates everyone around her, to remain at the top of the classical food chain.
And it seems he’s taken up the a gauntlet of sorts, becoming the poster boy for male filmmakers and their trepidation about women encroaching on their century-old control of Hollywood. Their fraternity can be heard, feverishly applauding Tár as a “work of genius”, and bestowing the coveted crown of “master filmmaker” during the 2023 award season.
Women in power frighten men - not all men, of course - only those who are used to calling the shots. Whether it’s a director in Hollywood or a Washington politician, men will take every opportunity to demonize a successful woman. And what better way than to create the image of a mentally and emotionally unstable woman, a “Lady Macbeth” if you will. You know, the more violent and visceral she is, the harder she is to forget, both individually and for her entire sex.
Women in power frighten men - not all men, of course - only those who are used to calling the shots. Whether it’s a director in Hollywood or a Washington politician, men will take every opportunity to demonize a successful woman. And what better way than to create the image of a mentally and emotionally unstable woman, a “Lady Macbeth” if you will. You know, the more violent and visceral she is, the harder she is to forget, both individually and for her entire sex.
I mention Lady Macbeth because that’s how conductor John Mauceri referenced Lydia Tár in his guest essay for the New York Times. As the criticisms came in, Mauceri - who served as the musical adviser for the film - patronizingly counseled the critical thinkers to “take a deep breath” and to “take less seriously” Tár, because after all “she is a work of fiction.” *1
That’s the type of language used by men in power - you know - when they resort to gaslighting women who raise their voices against negative representations and stereotypical narratives.
That’s the type of language used by men in power - you know - when they resort to gaslighting women who raise their voices against negative representations and stereotypical narratives.
Earlier I mentioned conductor Marin Alsop, and for a good reason - Lydia Tár is a thinly-veiled portrayal of Ms. Alsop, based on Mauceri’s - or should I say screenwriter Field’s - distorted vision. But there’s enough culpability to go around, as Mauceri smugly noted, “We conductors do not generally like our colleagues, and we delight in denigrating one another — that is, until one of us dies.”
The similarities between Ms. Alsop - who struggled to become the first female conductor in a male-dominated field, and Lydia Tár - were anything but coincidental.
“So many superficial aspects of Tár seemed to align with my own personal life, but once I saw it I was no longer concerned, I was offended: I was offended as a woman, I was offended as a conductor, I was offended as a lesbian.” *2
The similarities between Ms. Alsop - who struggled to become the first female conductor in a male-dominated field, and Lydia Tár - were anything but coincidental.
“So many superficial aspects of Tár seemed to align with my own personal life, but once I saw it I was no longer concerned, I was offended: I was offended as a woman, I was offended as a conductor, I was offended as a lesbian.” *2
Some reviewers gloss over the psychotic nature of the Lydia Tár character, wrapping it in euphemistic hyperbole about the creative process. Much is made of individual shots, music, sets, and of course Ms. Blanchett’s performance. Yet, at a time when women are fighting to break the glass ceiling, calling for equal parity in wages and work behind the camera in cinema, her involvement is a treacherous act.
About her role, Blanchett blithely opined, “a man couldn’t have captured the nuance of the “corrupting nature” of power”. Yet she conveniently forgets that Man forged this template at the dawn of time. *3
About her role, Blanchett blithely opined, “a man couldn’t have captured the nuance of the “corrupting nature” of power”. Yet she conveniently forgets that Man forged this template at the dawn of time. *3
“To have an opportunity to portray a woman in that role and to make her an abuser — for me that was heartbreaking,” said Ms. Alsop. *2
Did Todd Field ever consider contacting Marin Alsop? It’s doubtful, as the proof is in his final product. No, Field chose the “adviser” who shared his worldview, period.
Did Todd Field ever consider contacting Marin Alsop? It’s doubtful, as the proof is in his final product. No, Field chose the “adviser” who shared his worldview, period.
And to the male-dominated Academy, busy showering nominations and awards on a film that targets all women - but Marin Alsop in particular - stinks of misogyny. And what better way to promote gender hatred towards successful women, than to have a talented woman play the role and give her plenty of awards? It should come as no surprise that I will not be watching Todd Field’s opus to androcentric angst, nor rooting for Miss Blanchett in promoting the patriarchal male gaze in general and misogyny in particular.
Conductor Marin Alsop however, remains, “I’m hopeful that the progress we’ve made now is substantive and quantitative enough that it can’t be reversed, because I think there are those who would like to reverse it… So I’m both a realist and an optimist, and I say, let’s link arms and just keep on walking.” *2
Conductor Marin Alsop however, remains, “I’m hopeful that the progress we’ve made now is substantive and quantitative enough that it can’t be reversed, because I think there are those who would like to reverse it… So I’m both a realist and an optimist, and I say, let’s link arms and just keep on walking.” *2
I suggest watching the documentary, Conductor, about Ms. Alsop’s creative journey at Amazon.com
*1 Mauceri, John. Who’s Afraid of Lydia Tár?. New York Times. March 5, 2023.
https://www.nytimes.com/2023/03/05/opinion/tar-cate-blanchett-conductors-classical-music.html
*2 Carrass, Christi. Marin Alsop: This real-life conductor is mentioned in ‘Tár.’ And she’s not a fan of the film. January 11, 2023.
https://www.latimes.com/entertainment-arts/movies/story/2023-01-11/marin-alsop-tar-cate-blanchett-conductor-statement-interview
*3 Haring, Bruce. Cate Blanchett Defends ‘Tar’ From Symphony Conductor’s Criticism. January 14, 2023.
https://deadline.com/2023/01/cate-blanchett-defends-tar-film-from-symphony-conductors-criticism-1235222196/#comments
https://www.nytimes.com/2023/03/05/opinion/tar-cate-blanchett-conductors-classical-music.html
*2 Carrass, Christi. Marin Alsop: This real-life conductor is mentioned in ‘Tár.’ And she’s not a fan of the film. January 11, 2023.
https://www.latimes.com/entertainment-arts/movies/story/2023-01-11/marin-alsop-tar-cate-blanchett-conductor-statement-interview
*3 Haring, Bruce. Cate Blanchett Defends ‘Tar’ From Symphony Conductor’s Criticism. January 14, 2023.
https://deadline.com/2023/01/cate-blanchett-defends-tar-film-from-symphony-conductors-criticism-1235222196/#comments
COPYRIGHT 2012/2023. Paulette Reynolds. All CineMata Movie Madness blog articles, reviews, faux interviews, commentary, and the Cine Mata character are under the sole ownership of Paulette Reynolds. All intellectual and creative rights reserved.
