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Rijetki glumci imaju privilegij dobiti ulogu pisanu baš za njih. Jedna od odabranih je oskarovka Cate Blanchett, pripadnica glumačke elite koja se može nositi i s najtežim glumačkim izazovima. Znao je to honorirati američki redatelj Todd Field (‘Mala djeca‘, ‘U spavaćoj sobi‘) kad je naslovni lik psihološke drame ‘Tar‘ povjerio upravo Australki koja je uskočila u frak dirigentice Berlinske filharmonije i dočarala nam priču o umjetnici neupitnog talenta i slojevitog, gotovo neproničnog karaktera.

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Scena iz hvaljenog filma Todda Fielda

Focus Features - Standard Film C/Collection Christophel Via Afp
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Od uvodnog fancy intervjua do profane ‘kostimirane‘ završnice usred filipinske zabiti raslojava se prava narav Lydie Tár. Radi li se o hirovitoj, control freak glazbenoj heroini ili o zlostavljačici golemog ega i istančanog smisla za intrige? Field spretno uvlači publiku u labirint mentalnih stanja glavne junakinje iz čije se ekspresije lica može, ali i ne mora, iščitati cijeli spektar osjećaja koji najčešće bude tjeskobu. ‘Tar‘ nije lak film za praćenje.

U varljivoj prednosti su poklonici klasične glazbe koji će lakše od ostatka publike prepoznati partiture i imena laicima slabije poznatih kompozitora, no to im je znanje uzaludno kad treba odgonetnuti sve postupke gospođe Tar. Njezinu ionako kompleksnu osobnost dodatno usložnjava otvorena sklonost istom spolu. Lydia Tár je, kako sama kaže, otac djevojčice koja joj je možda biološko, a možda i posvojeno dijete.

Glavna junakinja sve teže uspostavlja balans između privatnog i profesionalnog života, nijedan metronom ne može joj zaustaviti vrijeme na putu prema dolje. Toddova filmska introspekcija ima malo slabih točaka, među kojima je podcijenjena tema rodne neravnopravnosti.

Činjenica da je Tar prva žena za dirigentskim pultom moćne filharmonije nije dovoljno naglašena, a u gotovo trosatnoj psihološkoj analizi preskočen je i prikaz njezina uspona od provincijalke do lige jednog Karayana. No, moguće je da je redatelj smišljeno zapostavio tu ‘dionicu‘ kako bi se u potpunosti usredotočio na Taričin karakter koji magnetski privlači prvenstveno žene iz njezina okruženja.

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Njemica Nina Hoss osvaja nenametljivošću kao Lydijina partnerica violinistica Sharon

Focus Features - Standard Film C/Collection Christophel Via Afp
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A kad smo kod njezinih filmskih obožavateljica, valja reći da su sve glumice na visokoj razini. Njemica Nina Hoss osvaja nenametljivošću kao Lydijina partnerica violinistica Sharon, a Francuskinja Noemie Merlant suptilno iznosi unutarnje patnje dirigentičine asistentice Francesce.

Sophie Kauer kao ruska čelistica Olga Metkina odmjereno je i fino ‘odgudila‘ predmet Lydijine čežnje. Film pokušava polemizirati i s aktualnom ‘cancel-culture‘, mobbingom na poslu i u akademskoj izobrazbi te pravima ‘boljih‘ u meritokraciji, no na tom planu autorov je stav prilično zamagljen.

Bilo kako bilo, i redatelj povratnik Todd i njegova muza s pravom se nadaju Oskarima za režiju i glumu na ovogodišnjoj dodjeli. Blanchett bi ovo bila treća nagrada Akademije. Prvi put ju je osvojila za sporednu ulogu u ‘Avijatičaru‘ 2005., a pozlatila se i za naslovnu rolu u ‘Plavom Jasminu‘ Woodya Allena.

Neće biti iznenađenja ako trijumfira i s dirigentskom palicom u ‘Taru‘, na trenutke psihodeličnom ostvarenju koje krasi uistinu originalan početak.

 

 

 

 

 

 

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Scena iz hvaljenog filma Todda Fielda

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Rijetki glumci imaju privilegij dobiti ulogu pisanu baš za njih. Jedna od odabranih je oskarovka Cate Blanchett, pripadnica glumačke elite koja se može nositi i s najtežim glumačkim izazovima. Znao je to honorirati američki redatelj Todd Field (‘Mala djeca‘, ‘U spavaćoj sobi‘) kad je naslovni lik psihološke drame ‘Tar‘ povjerio upravo Australki koja je uskočila u frak dirigentice Berlinske filharmonije i dočarala nam priču o umjetnici neupitnog talenta i slojevitog, gotovo neproničnog karaktera.

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image

Scena iz hvaljenog filma Todda Fielda

Focus Features - Standard Film C/Collection Christophel Via Afp
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Od uvodnog fancy intervjua do profane ‘kostimirane‘ završnice usred filipinske zabiti raslojava se prava narav Lydie Tár. Radi li se o hirovitoj, control freak glazbenoj heroini ili o zlostavljačici golemog ega i istančanog smisla za intrige? Field spretno uvlači publiku u labirint mentalnih stanja glavne junakinje iz čije se ekspresije lica može, ali i ne mora, iščitati cijeli spektar osjećaja koji najčešće bude tjeskobu. ‘Tar‘ nije lak film za praćenje.

U varljivoj prednosti su poklonici klasične glazbe koji će lakše od ostatka publike prepoznati partiture i imena laicima slabije poznatih kompozitora, no to im je znanje uzaludno kad treba odgonetnuti sve postupke gospođe Tar. Njezinu ionako kompleksnu osobnost dodatno usložnjava otvorena sklonost istom spolu. Lydia Tár je, kako sama kaže, otac djevojčice koja joj je možda biološko, a možda i posvojeno dijete.

Glavna junakinja sve teže uspostavlja balans između privatnog i profesionalnog života, nijedan metronom ne može joj zaustaviti vrijeme na putu prema dolje. Toddova filmska introspekcija ima malo slabih točaka, među kojima je podcijenjena tema rodne neravnopravnosti.

Činjenica da je Tar prva žena za dirigentskim pultom moćne filharmonije nije dovoljno naglašena, a u gotovo trosatnoj psihološkoj analizi preskočen je i prikaz njezina uspona od provincijalke do lige jednog Karayana. No, moguće je da je redatelj smišljeno zapostavio tu ‘dionicu‘ kako bi se u potpunosti usredotočio na Taričin karakter koji magnetski privlači prvenstveno žene iz njezina okruženja.

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image

Njemica Nina Hoss osvaja nenametljivošću kao Lydijina partnerica violinistica Sharon

Focus Features - Standard Film C/Collection Christophel Via Afp
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A kad smo kod njezinih filmskih obožavateljica, valja reći da su sve glumice na visokoj razini. Njemica Nina Hoss osvaja nenametljivošću kao Lydijina partnerica violinistica Sharon, a Francuskinja Noemie Merlant suptilno iznosi unutarnje patnje dirigentičine asistentice Francesce.

Sophie Kauer kao ruska čelistica Olga Metkina odmjereno je i fino ‘odgudila‘ predmet Lydijine čežnje. Film pokušava polemizirati i s aktualnom ‘cancel-culture‘, mobbingom na poslu i u akademskoj izobrazbi te pravima ‘boljih‘ u meritokraciji, no na tom planu autorov je stav prilično zamagljen.

Bilo kako bilo, i redatelj povratnik Todd i njegova muza s pravom se nadaju Oskarima za režiju i glumu na ovogodišnjoj dodjeli. Blanchett bi ovo bila treća nagrada Akademije. Prvi put ju je osvojila za sporednu ulogu u ‘Avijatičaru‘ 2005., a pozlatila se i za naslovnu rolu u ‘Plavom Jasminu‘ Woodya Allena.

Neće biti iznenađenja ako trijumfira i s dirigentskom palicom u ‘Taru‘, na trenutke psihodeličnom ostvarenju koje krasi uistinu originalan početak.

 

 

 

 

 

 

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Focus Features - Standard Film C/Collection Christophel Via Afp Focus Features - Standard Film C/Collection Christophel Via Afp Focus Features - Standard Film C/Collection Christophel Via Afp
Focus Features - Standard Film C/Collection Christophel Via Afp

Cate Blanchett u ‘Taru‘ glumi svjetski poznatu maestru

Focus Features - Standard Film C/Collection Christophel Via Afp

Njemica Nina Hoss osvaja nenametljivošću kao Lydijina partnerica violinistica Sharon

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ZabavaFILM TJEDNA

Tár: Cate Blanchett kao maestra suvereno dirigira psihološkom dramom o talentiranoj glazbenici problematične naravi

Piše Gabrijela Bijelić
31. siječnja 2023. - 16:21
Cate Blanchett u ‘Taru‘ glumi svjetski poznatu maestruFocus Features - Standard Film C/Collection Christophel Via Afp

Rijetki glumci imaju privilegij dobiti ulogu pisanu baš za njih. Jedna od odabranih je oskarovka Cate Blanchett, pripadnica glumačke elite koja se može nositi i s najtežim glumačkim izazovima. Znao je to honorirati američki redatelj Todd Field (‘Mala djeca‘, ‘U spavaćoj sobi‘) kad je naslovni lik psihološke drame ‘Tar‘ povjerio upravo Australki koja je uskočila u frak dirigentice Berlinske filharmonije i dočarala nam priču o umjetnici neupitnog talenta i slojevitog, gotovo neproničnog karaktera.

image

Scena iz hvaljenog filma Todda Fielda

Focus Features - Standard Film C/Collection Christophel Via Afp

Od uvodnog fancy intervjua do profane ‘kostimirane‘ završnice usred filipinske zabiti raslojava se prava narav Lydie Tár. Radi li se o hirovitoj, control freak glazbenoj heroini ili o zlostavljačici golemog ega i istančanog smisla za intrige? Field spretno uvlači publiku u labirint mentalnih stanja glavne junakinje iz čije se ekspresije lica može, ali i ne mora, iščitati cijeli spektar osjećaja koji najčešće bude tjeskobu. ‘Tar‘ nije lak film za praćenje.

U varljivoj prednosti su poklonici klasične glazbe koji će lakše od ostatka publike prepoznati partiture i imena laicima slabije poznatih kompozitora, no to im je znanje uzaludno kad treba odgonetnuti sve postupke gospođe Tar. Njezinu ionako kompleksnu osobnost dodatno usložnjava otvorena sklonost istom spolu. Lydia Tár je, kako sama kaže, otac djevojčice koja joj je možda biološko, a možda i posvojeno dijete.

Glavna junakinja sve teže uspostavlja balans između privatnog i profesionalnog života, nijedan metronom ne može joj zaustaviti vrijeme na putu prema dolje. Toddova filmska introspekcija ima malo slabih točaka, među kojima je podcijenjena tema rodne neravnopravnosti.

Činjenica da je Tar prva žena za dirigentskim pultom moćne filharmonije nije dovoljno naglašena, a u gotovo trosatnoj psihološkoj analizi preskočen je i prikaz njezina uspona od provincijalke do lige jednog Karayana. No, moguće je da je redatelj smišljeno zapostavio tu ‘dionicu‘ kako bi se u potpunosti usredotočio na Taričin karakter koji magnetski privlači prvenstveno žene iz njezina okruženja.

image

Njemica Nina Hoss osvaja nenametljivošću kao Lydijina partnerica violinistica Sharon

Focus Features - Standard Film C/Collection Christophel Via Afp

A kad smo kod njezinih filmskih obožavateljica, valja reći da su sve glumice na visokoj razini. Njemica Nina Hoss osvaja nenametljivošću kao Lydijina partnerica violinistica Sharon, a Francuskinja Noemie Merlant suptilno iznosi unutarnje patnje dirigentičine asistentice Francesce.

Sophie Kauer kao ruska čelistica Olga Metkina odmjereno je i fino ‘odgudila‘ predmet Lydijine čežnje. Film pokušava polemizirati i s aktualnom ‘cancel-culture‘, mobbingom na poslu i u akademskoj izobrazbi te pravima ‘boljih‘ u meritokraciji, no na tom planu autorov je stav prilično zamagljen.

Bilo kako bilo, i redatelj povratnik Todd i njegova muza s pravom se nadaju Oskarima za režiju i glumu na ovogodišnjoj dodjeli. Blanchett bi ovo bila treća nagrada Akademije. Prvi put ju je osvojila za sporednu ulogu u ‘Avijatičaru‘ 2005., a pozlatila se i za naslovnu rolu u ‘Plavom Jasminu‘ Woodya Allena.

Neće biti iznenađenja ako trijumfira i s dirigentskom palicom u ‘Taru‘, na trenutke psihodeličnom ostvarenju koje krasi uistinu originalan početak.

 

 

 

 

 

 

15. svibanj 2024 16:02