‘Tár’ finished, and explained: What is a monster hunter?

Here she is: Linda Tarr.
Photo: Courtesy of Focus Features

tar It’s the funniest movie of the year, although you might not get into director Todd Field’s bleak humor until you get to the biggest, most obvious joke at the end. By then, the conductor played by Cate Blanchett had left her glamorous life in Berlin and New York after reports surfaced of her students interested in journalism, and landed a new job managing an orchestra in Southeast Asia. (Dialogue does not specify where it is, although the performers from Siam Sinfonietta in the movie.) Lydia appears despised by her new surroundings, but slowly settles into her old routine. She studies a piece of music, lectures its musicians, and even goes to a massage parlor where she selects a masseuse from a select group of young women with the suggestion that they might again benefit from a less powerful sexual advantage. Then we get to her big return to the podium. You prepare the orchestra and then the screens go down behind them. CGI flag he is expected on them. We hear serious video game-style narration, and as the orchestra plays, we see the crowd filled with people posing as characters from the video game series. monster hunter.

What a place Lydia Tarr ends! Given how much she reveries Western canon and mocks traditional “robots,” a term she uses for people who aren’t her genius, we can assume she’d hate video games and mock her music in any other circumstance. (It also appears that Feld watched footage of .’s actual concert performance monster hunter Audio recording; They seem like a pretty fun time, all things considered.) The movie begins in New Yorker Festival and ends with a concert of video game music. If you invest in the contrast between high and low culture – the movie certainly devotes a lot of its screening time to the peculiarities of Lydia’s squeaky world, from her elegant concrete Berlin apartment to her suite at the Carlisle Hotel – you get a clear idea of ​​how far her career has slipped. It’s a hilarious, hilarious and hellish moment in her journey.

But if we see almost all of the film’s action from Lydia’s perspective (aside from some text messages), the movie makes you question her point of view at all times. For her, this might be an embarrassing party, but she is still in charge of an orchestra and in a position of power for the people around her. Is this an appropriate cosmic punishment? Is it too much? Too small? She works, which is the thing she loves to do the most but also the thing that gives her the power to abuse her.

Then you have to consider that all of this could be part of Lydia’s bigger comeback scheme. Earlier in the movie, she meets a public relations firm of some sort in a crisis, and a young employee suggests that she needs to create a new story about herself. Part of that story may be part of that story, and it’s just a show of humility. The film reminds you that Lydia began her illustrious career by studying the music of a group of indigenous people in the Amazon, and one suspects that she might eventually try to use the orchestra in a similar way: to advance a career that would curve backwards. Western Music. fact that tar He himself uses an anonymous non-Western site for his end, however, that doesn’t give him much of a basis for some strong anti-colonial argument. He is very intrigued by Lydia’s perspective to do so.

We also have to admit that Lydia Tarr isn’t even the character’s real name! When she returns home in the suburbs, we discover, thanks to her brother Tony, that her real first name is Linda, and if you look closely at her old testimonies, you can see her family name is actually Tar. She remade herself somewhere along the way; She probably hopes to resume her career with a video game orchestra in the same way. The movie also mentions that her birthday is coming up, so the specter of getting old also surrounds her, the idea that you can always recreate yourself, as you did, until the point where everything becomes aware. What’s Next? By the end of the film, Lydia is “cancelled” as she is banished from the highest levels of Western classical music performance, but is already trying to transform again and possibly climb all the way back. Extended codas indicate that such cancellations are not really permanent, and that this cancellation is not so much a complete pause as a pause in Lydia’s career. She will never stop trying to remake herself.

But what about all the people who surrounded her death? It’s still hard to know exactly who sent the text messages we see at the beginning of the movie, for example. I’ve discussed this with some of my co-workers, but my best bet is because we see Russian cellist Olga (Sophie Kaur) broadcast Lydia’s reading of her book, Tár on Tár (This title is the funniest frequent gag), Toward the end of the movie, she may have been the one who wrote the text messages. She may have seemed innocent to Lydia earlier, but it is clear that Olga knows more about the reputation of the conductor than she would allow. She may have been texting Francesca (Noémie Merlant), Lydia’s former assistant who abruptly left after not getting a leadership job in Berlin. Francesca kept emails from Lydia’s student who had committed suicide and may have been involved in bringing the story to the press’s attention. (Francesca could also have had a phone inside Juilliard’s master class Lydia scolds a female student and later leaks tampered footage.) Those initial onboard texts include a line about “How was it with her this morning,” possibly referring to Sharon (Nina Hoss), Lydia’s wife. Sharon proves by the end of the movie that she knows Lydia’s behavior well and was willing to go along with it until she threatens her family and her daughter. Could she work with Olga and Francesca to undermine Lydia? Who, after all, was getting all those hidden gifts for Lydia and drawing those labyrinths on her stuff? Just one ex-student, or multiple people working together?

It’s easy to fall into conspiratorial thinking because the movie encourages you to think as Lydia herself does. She believes that everyone around her is there to be used and that everyone would do the same to her if they could. Even before we feel about her sexual misconduct, we can see that all of her relationships are transactions, Sharon puts it. Note how Lydia Elliot uses Mark Strong’s Kaplan to get his money and his own plane in exchange for the little quirk of her musical vision in his direction. (In particular, she doesn’t seem to give him enough early on in the movie and has to fly a commercial, but then flies solo on the return trip with the pressure increasing on her and using all she has, and then the commercial back to Berlin after its downfall) . Enough Lydia is an asshole because the people around her can easily get enough of them and then clean up the rest of her career. Kaplan, after all, seems perfectly happy to take her Mahler 5 notebook and use it himself at the Berlin concert before she takes it out on revenge. Or was he part of the scheme against her all along, and did Sharon or Francesca steal the notebook beforehand?

There is a lot to be unsure of at the end tar in various deceptive ways. This is mostly because Lydia herself is a mutable character, utterly despicable from one angle, and understandable from another. It’s clearly a problem, a monster that wears all the opinions and attitudes that would allow it to succeed in classical music, but what exactly can you do with this problem once it’s there? tar He doesn’t seem sure But he is interested to know how the usual course of punishment for a person like Lydia is somewhat insufficient and unreasonable. at least these monster hunter Fans at prom in hell.

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