Full disclosure: I suck at fathoming and sorting the full breadth and scope of classical music in all its storied splendor. I can be taught, but my retention sucks through no conscious choice on my part. My wife Anne is far more skilled at recognizing symphonies and suites, catching nuances, spotting themes in film scores and remembering titles of lyricless songs. But she hasn’t seen Tár and prefers to let/watch/make me write my own blog, so here we are with a philistine on the keys, hopefully not too tone-deaf.
Not that I wasn’t looking forward to this! I still recall writer/director Todd Field’s debut, 2001’s In the Bedroom, a Best Picture nominee in which Tom Wilkinson and Sissy Spacek were equally moving as parents dealing with the death of their adult son, Terminator 3‘s John Connor. I never got around to his follow-up Little Children, but that’s my fault, not Field’s. This time I didn’t wait to be prompted by my annual Oscar quest to run out and catch his next work, a taut drama so impeccably dressed and so meticulously crafted within its very specific milieu that you’re halfway into the film before you realize you’re viewing the entire edifice through an unreliable vantage.