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Thanks. Lydia Tár, widely considered one of the greatest living composer/conductors and first-ever female chief conductor of a major German orchestra.
 

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I've seen the movie, if anyone would care to discuss it.

I was very surprised by the way it was constructed - almost as to be deliberately off-putting to people not deeply versed in the classical music world. Even I, who have purchased and read books and documentaries about this stuff, frequently though "why are they talking about X for so long?"

Anyway, I was also reasonably involved in the story of abuse of power and the celebrity cult of conductors. I thought things felt very realistic in that sense. And I quite enjoyed all the location filming in the Berlin Philharmonie among other places. Cate Blanchett was very good, as per usual.
 

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Sibelius, Beethoven, Satie, Debussy
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One of the characters in the film is an obvious reference to Gilbert Kaplan, which Mahlerites might find amusing.
And one of the characters is, allegedly, an obvious reference to Marin Alsop; she is not best pleased. The director has denied that Tar is based on anyone.

Only just released here (10 days ago). I think I don't need to see it on the big screen.
 

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And one of the characters is, allegedly, an obvious reference to Marin Alsop; she is not best pleased. The director has denied that Tar is based on anyone.

Only just released here (10 days ago). I think I don't need to see it on the big screen.
My understanding is that it is gong to hit streaming on Peacock in the US at the end of this month. Don't know about UK/EU.
 

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I saw it in a theater back in late October, and I thought it was glum and pretentious. The beginning where Tár gives several overlong speeches was especially insufferable. Things improved slightly when the actual plot started to kick in, but overall I could not wait for it to be over.

I would love for someone to come along now and make the opposite of Tár: a low backstage comedy that depicts how the practice of classical music is just another ridiculous corner of show business. Come to think of it, is that what Mozart in the Jungle was? I never saw it.
 

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Just checking here, Luchesi...you do know it's a fictional tale?
Yes, now I hear that it's an expressive story. I think it's about the mystery of music from an outsiders’ point of view. I can't shake this view, and I also felt it strongly in the Immortal Beloved movie. Other people didn’t... lol
 

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Yes, now I hear that it's an expressive story. I think it's about the mystery of music from an outsiders’ point of view. I can't shake this view, and I also felt it strongly in the Immortal Beloved movie. Other people didn’t... lol
Cate blanchett and the director have said that the movie isn’t about classical music, but about the abuse of power from people in positions of power. It’s stage is just the classical music world but the actual themes of the movie have nothing to do with it
 

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As others have said, abuse of power, and structures of power, from teachers, institutions, art forms, politics, relationships. I love that they chose classical music and avoided, say, the film industry - cm and study of classics are being cancelled.
 

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Cate blanchett and the director have said that the movie isn’t about classical music, but about the abuse of power from people in positions of power. It’s stage is just the classical music world but the actual themes of the movie have nothing to do with it
Yeah, this is correct, to the movie's detriment for me. The Dresden Philharmonic sounds amazing in the movie, and we only get to hear them for little snippets. I think the movie (which I mostly liked) would be stronger if they gave us more music, by way of explaining how and why conductors are invested with such awe and reverence. If the movie were about abuses of power and status by film directors, I would want to see some of their craft as well, to explain why they are given such latitude.
 

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A rich and complex film, and boldly esoteric for long passages. It explores a lot of themes, including the juxtaposition of an artist's life vs. the art they make. Having just recently seen it, it wasn't at all the movie I was led to believe it would be, and none of the reviews or commentary I read prepared me for how surreal/dream-like in nature of much of the story is, or for the creepiness and psychological thriller/horror aspects that contains. It isn't a realistic, straightforward, everything falls apart tragedy. Its much weirder than that, almost an exploration of the central character's psyche.

Anyways. Definitely disturbing and hard to watch at times, but I enjoyed it. Thoughtful and provocative.
 

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I saw it in a theater back in late October, and I thought it was glum and pretentious. The beginning where Tár gives several overlong speeches was especially insufferable. Things improved slightly when the actual plot started to kick in, but overall I could not wait for it to be over.

I would love for someone to come along now and make the opposite of Tár: a low backstage comedy that depicts how the practice of classical music is just another ridiculous corner of show business. Come to think of it, is that what Mozart in the Jungle was? I never saw it.
I made it through three episodes of Mozart in the Jungle and have had plans to see Tar cancelled three times. But the backstage comedy (literally) you're looking for is Noises Off by Michael Frayn. It's about theater and it's best to see it on stage (for reasons that will become obvious). The film isn't bad because the casting is so good. Frank Rich, theater critic for the Times for many years, said it was the funniest play written in his lifetime.
 

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And one of the characters is, allegedly, an obvious reference to Marin Alsop; she is not best pleased. The director has denied that Tar is based on anyone.

Only just released here (10 days ago). I think I don't need to see it on the big screen.
I've not seen the film but my understanding is that the conductor's career development mirrors Alsop's but that no attempt was made to base her character on Alsop's. Alsop is one of many who feel that choosing to show a woman as an abusive power freak - when the cases we know of were all men - is anti-feminist. Personally (and without having seen the film) I can buy into the idea that it is power that corrupts rather than testosterone.
 

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I watched the movie a few weeks ago. Mixed feelings, but the end was both sort of funny and tragic. I can't say I felt especially sorry for the main character.
 

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I've not seen the film but my understanding is that the conductor's career development mirrors Alsop's but that no attempt was made to base her character on Alsop's. Alsop is one of many who feel that choosing to show a woman as an abusive power freak - when the cases we know of were all men - is anti-feminist. Personally (and without having seen the film) I can buy into the idea that it is power that corrupts rather than testosterone.
It only really mirrors her in that she is a lesbian conductor. Alsop has never been the chief conductor of one of the big five, or the Berlin Philharmonic. The Tar character also claimed to have apprenticed with Bernstein (which doesn't make sense in terms of time line and may be a lie) and is also an ehtnomusicologist.

Personally, I see Alsop's point. It would be kind of like making a movie about the first Black president in 2010 and having the character be a lecherous preyer upon women. I could imagine A Black audience (or Black president) thinking "really? The first portrayal of one of us in that role and they make them the villain?"

This is irrespective of the quality of the movie, which was pretty good, although very self-consciously "arty" and impenetrable at times.
 
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