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Blanchett plays a hardnosed, gifted and gay
conductor of a major German orchestra, whose seemingly
unstoppable career hits the hurricane of an abuse scandal that
is never fully explained.
The movie, being premiered at the Venice Film Festival, delves
deep into the world of classical music and the complexities of
orchestra life. It highlights a poisonous mix of sex, power and
exploitation, but Blanchett denied this was at the heart of the
story.
"While there are a lot of hot-button topics that come up in this
movie, it is not about any of those things. They are plot
devices," said the Australian actor, a Venice veteran who served
as president of the jury in 2020.
"There are a lot of explosive things in the film. Without
wanting to sound too highfalutin, it's much more existential for
me," she said, adding: "I am not interested in agitprop."
She also denied that the film had anything significant to say
about LGBT representation. "It felt urgent and it felt
undeniable but, strangely, I didn't think about the character's
gender nor her sexuality at all."
Much of the film focuses on three weeks in the life of Lydia
Tar, when she goes from being a classical music megastar to
fighting for her professional survival.
"There is an element of horror (to the story) ... It is a very
long journey in a very short period of time for her," said
Field, presenting his first film in 16 years following "Little
Children" in 2006, which received three Oscar nominations.
In addition to directing, Field also wrote the screenplay,
saying he penned the lead role specifically for Blanchett, who
was involved in the project from the start.
The film also stars Nina Hoss, Noemie Merlant, Mark Strong and
renowned cellist Sophie Kauer, who said she had prepared for her
first acting role by watching online video classes by British
actor Michael Caine.
Blanchett told reporters she was drawn to the complexity of the
lead character, with much of her past left unsaid.
"You experience someone who has definitely put her past in a box
and through her great talent has tried to reinvent herself and
be saved ... by the music, but she is haunted by something."
(Reporting by Crispian Balmer; editing by John Stonestreet)
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