![]() ![]() Pristine Poggenpohl kitchens and $30,000 sectionals and discreetly disguised safes sunk into great expanses of undivided wall. If the talent is a Cultural Luminary, backstage is likely to be even more glamorous than front-of-house. After which the talent goes home, to their backstage life. Self-fashioning, repeating witticisms they’ve used many times before, pretending to consider questions long settled in their own minds. She is doing what the talent is always doing at these things: acting. See, I start the clock.īut Blanchett has it exactly right. ![]() Time is the essential piece of interpretation. We don’t call women astronauts “astronettes.” ![]() As Gopnik recounts Tár’s many achievements, her face remains fixed in its pose of false humility, and when she speaks, she offers her audience a series of eloquent but overly rehearsed bons mots: His interviewee, the (fictional) conductor Lydia Tár, is stiff and self-conscious-actorly, even. Gopnik, playing himself, is a relaxed and fluid interviewer. They sit together on a New Yorker Festival stage. During the first ten minutes of Tár, it is possible to feel that the critic Adam Gopnik is a better actor than Cate Blanchett. ![]()
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