I thought the refusal to comment on whether Lydia's cancellation is just or not was the best trick of the movie. Field holds everything at arm's length from the audience, including Lydia.
The more interesting question for me, and one I don't have a firm answer for, is whether Field is mocking the world of high-status orchestral music or portraying it lovingly.
I think he splits it: The social apparatus around high-status orchestral music — the New Yorker Festival panels, the gossipy lunches with august retirees and annoying donors, the high wire backstage politicking — is shown with slight disdain, but some of the actual participants (the young cellist, Lydia's wife, the orchestra performers who seem deeply aware of all the drama going on but never comment on it) are portrayed as people of integrity and passion. Or, in short: People in it for the art are good, people in it for the clout are bad.
I thought the refusal to comment on whether Lydia's cancellation is just or not was the best trick of the movie. Field holds everything at arm's length from the audience, including Lydia.
The more interesting question for me, and one I don't have a firm answer for, is whether Field is mocking the world of high-status orchestral music or portraying it lovingly.
I think he splits it: The social apparatus around high-status orchestral music — the New Yorker Festival panels, the gossipy lunches with august retirees and annoying donors, the high wire backstage politicking — is shown with slight disdain, but some of the actual participants (the young cellist, Lydia's wife, the orchestra performers who seem deeply aware of all the drama going on but never comment on it) are portrayed as people of integrity and passion. Or, in short: People in it for the art are good, people in it for the clout are bad.
god damn it jeremy this is the best review of TAR I have read