[ad_1]
Are career, money and success enough to make you happy? No, especially if your name is Lydia Tàr and you are the first woman in history to conduct a major German orchestra. The protagonist of the new film by Todd Field Tàr, in competition at the 79th Venice Film Festival, is a woman with an impossible character, gifted with a great talent and an equally evident lack of empathy towards others. Especially if he is a student of him: in one of the first (interminable) scenes of the film he verbally destroys one, guilty of having accused Bach of misogyny (the most hilarious insult he addresses to him: “The architect of your soul is a social network“).
It’s worth saying right away: the first hour is verbose and tiring, the film struggles to take off, luckily it enjoys an actress for whom we have exhausted all superlatives, Cate Blanchett. You always look at it with pleasure, even when the script is completely lacking in bite and rhythm. In the film she speaks German, plays the piano, conducts the orchestra and proves to be excellent in building a character sui generis but absolutely plausible, who progressively wins the audience’s attention, awakening them when she intones her “papapapaaàm”While rehearsing Mahler’s Fifth Symphony with the orchestra.
Logorrheic and uncompromising, Lydia is an unpleasant missed man. Not because he loves women, but because he behaves like a perfect heir of the most vulgar patriarchy, exploiting his position of power to get sexual favors. When Field’s film enters this narrative path, it becomes interesting and current. He shines the spotlight on a woman who calls herself a “teacher” and says she is the “father” of her daughter, who dares to threaten a classmate, who crushes her ex-lover so much that she commits suicide, which she reiterates as if in a ‘orchestra there can be no democracy, which mistreats personal assistants and seduces its fellows in a serial manner. When the latter custom comes to light and the ax of accusation hangs over her, it will turn into a beast ready to attack and making public scenes, and it is precisely here that the main flaw of the script lies. Only the theme of sexual predation by a woman is touched upon, then one (s) immediately falls into psychopathology and ends up signing, in fact, yet another portrait of a brilliant but mentally unstable woman. A decidedly missed opportunity to explore the topic from a new and original perspective, while Blanchett’s world and curriculum is full of films on mental illness (much more engaging). Just think, above all, a Blue Jasmine by Woody Allen.
.
[ad_2]
Source link
