Until recently, Todd Field, whose feature directorial debut is the acclaimed 2001 drama "In the Bedroom," hadn't made a film since its 2006 follow-up, the well-regarded "Little Children."
To hear the filmmaker tell it, his third film, "Tár" — which arrives in theaters this week — easily could have not come to fruition.
"This script was written for one artist, Cate Blanchett," Field says in his director's statement. "Had she said no, the film would have never seen the light of day."
That may sound like the kind of thing directors say to flatter the stars of their films. It rings true in this case, however, with Blanchett turning in a tour-de-force as the powerful conductor of a world-class orchestra that is the lifeblood of "Tár."
Even at more than two-and-a-half hours, "Tár" is an engrossing symphony almost from its opening notes to its final fading sounds.
We say "almost" not because "Tár" requires the viewer to sit through an extensive list of acknowledgments before the film begins in earnest but because its crescendo feels way over the top. It's a moment wildly out-of-tune from the rest of the movie that leaves you with a bad taste.
Up until that point, however, "Tár" is an exquisite character study of an incredibly talented woman wielding — and increasingly abusing — great power within the sophisticated world of classical music.
We meet the film's titular fictional character, Blanchett's Lydia Tár, in a conversation with Adam Gopnik (as himself) at The New Yorker Festival, the introduction to which lays out her undeniably impressive resume.
She is about to see the release of her memoir, "Tár on Tár," and lead her renowned Berlin-based orchestra through a highly anticipated performance of Gustav Mahler's Fifth Symphony.
Earlier, with the help of an investment banker and amateur conductor, Eliot Kaplan (Mark Strong, "Kingsman: The Secret Service"), Lydia had founded the Accordion Conducting Fellowship, which has sought to provide opportunities for aspiring female conductors.
One such young woman is her assistant, Francesca Lentini (Noémie Merlant, "Portrait of a Lady on Fire"). Referring to herself at one point as "a U-Haul lesbian," Lydia allows her hand to linger on the shoulder of the devoted and attentive Francesca in an early scene.
We soon learn Lydia has frozen out another young woman: former protege Krista Taylor (Sylvia Flote). We certainly have reason to suspect there's more to this situation than, as Lydia insists, Krista being a disturbed person who became too attached to her accomplished mentor.
That may help to explain why things seem a little rocky in Lydia's marriage to the orchestra's concertmaster, Sharon Goodnow (Nina Hoss). Our reactions to moments to come in the narrative largely are confirmed by the expressions worn on Sharon's face.
If there's anything we do not question is Lydia's love for their Syrian adopted daughter, Petra (Mila Bogojevic), the girl's "father" going so far as to threaten a girl at school who's giving Petra a hard time.
As the book launch and performance approach, more complications arise for Lydia, including her interest in a beautiful, young and gifted Russian cellist, Olga Metkina (Sophie Kauer), hoping to earn a spot with the orchestra.
Until the aforementioned climactic scene, Field conducts with such a deft hand that you're reminded how disappointing it is he hasn't directed more often. Scene after scene is, if you'll pardon one more obvious musical reference, well-orchestrated. Ultimately, he somehow keeps you on the edge of your seat even if "Tár" isn't exactly a thriller.
As the film's writer, Field is interested in power. He examines what can happen when attraction enters into a dynamic involving authority, as well as how someone heading what, at the end of the day, is a democratic institution — the members of this German orchestra vote in the conductor — behaves like a dictator.
Refreshingly, though, the complex Lydia doesn't behave maniacally, at least not overly so. She often appreciates the contributions of the talented and devoted people around her and is able to express her admiration for them.
Although no doubt responsible for much of what the film has to offer, Field may be right in suggesting that had Blanchett passed, "Tár" shouldn't have been made.
The two began collaborating on the project in 2020, according to the film's production notes, with the star of acclaimed films such as "Blue Jasmine" and "Carol" devoting significant time and energy to preparing for it while shooting two other movies. According to Field, her devotion to the project ultimately included teaching herself how to speak German and to play the piano, as well as time on her day off from shooting driving on a racetrack to train for a stressful scene in which the stressed-out and distracted Lydia is navigating a Berlin roundabout.
As impressive as all that may be, it's how Blanchett holds your attention that resonates, especially in a few extended early scenes, such as the one at The New Yorker Festival. Speaking the language of a conductor — one so brilliant that when she awakens to classical music, she is able to determine, within moments and with some disdain, who is responsible for a particular performance — she is mesmerizing.
Expect her to be in the thick of races for best-actress awards.
"Tár" takes its time in telling its tale, not even bringing us into the orchestra's rehearsals for at least an hour into the affair, yet managing to engage all the while. And, yes, it stumbles — embarrassingly — but it manages to pick itself back for a brief final stretch that is, if not as enthralling as what has come before it, at least interesting.
Hopefully, this isn't the last we see of Field on the big screen for another decade and a half. Set to produce and direct episodes of an adaptation of Erik Larson's 2003 nonfiction serial killer book "The Devil in the White City," Field reportedly has had trouble getting various film projects off the ground.
Based on this work, it shouldn't be so difficult the next time.
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'TÁR'
3.5 stars (out of 4)
MPAA rating: R (for some language and brief nudity)
Running time: 2:38
How to watch: In theaters Friday
