There are gifted people and there are others. Cate Blanchett is convinced that she belongs to the second category, those who, because they have no particular talent and even less genius, must work intensely, laboriously. She takes no offense at belonging to this group and faces it with serenity. And, by a mirror effect, she is passionate about gifted people because, in her eyes, they are better than her and therefore able to teach her a valuable lesson, and also because they are also more fragile.
This is what strikes her when she thinks back to the character of Lydia Tár, the conductor of a major German symphony orchestra at the peak of her career, in the midst of preparing for a much-anticipated concert of Gustav Mahler's Symphony No. 5. To play the lead role in Tár, Todd Field's new film (in French theaters since January 25), the Australian actress had imagined, as usual, biographical elements that were absent from the script. She always writes these details, which are visible only to her, on a sheet of paper, as if to materialize her work, since, for Blanchett, acting is first of all writing.
When interviewed, she also took out a sheet of paper to retrace her career. As if it reassures her and attests to her intense work. A broad smile appeared on the face of the star of The Curious Case of Benjamin Button (2008), by David Fincher, and Carol (2015), by Todd Haynes. Like those landmark roles she played, she built her latest character like a house, with hidden floors and nooks and crannies. Of course, the character of Tár is first and foremost the fruit of the imagination of the American director and screenwriter, but her interpretation has refined it.
Refining the details
In the ecosystem of Hollywood stars, Blanchett occupies the place once held by Meryl Streep, that of a great actress with the ability to play anything. Her career on the big screen, but also on the stage – she directed the Sydney Theatre Company for a while alongside her husband, director Andrew Upton – attests to this. The many awards she has won over the years – Oscars for Best Supporting Actress (The Aviator, by Martin Scorsese, 2004), and Best Actress (Blue Jasmine, by Woody Allen, 2013), double acting awards at the Venice Film Festival (I'm Not There, by Todd Haynes, 2007, and Tár), Golden Globe awards for her performances in Elizabeth (1998), by Shekhar Kapur, I'm Not There, Blue Jasmine, and Tár – have cemented her status as an actress recognized by her peers. With Field's film, which could earn her a third Oscar in March, Blanchett seems to be taking another step forward, as it seems that only an actress of great talent could portray such a complex character.
You have 82.3% of this article left to read. The rest is for subscribers only.