This year, we’ve been treated to several wonderful monologues. But none have been quite so memorable as the monologues performed by the leads in 'Pearl,' 'Resurrection,' and 'TÁR.'
’s one-shot focuses on Goth’s mascara-stained face as she retreats into her character’s darkest anxieties. “Seems like there’s something missing in me that the rest of the world has,” Pearl says. For her, there are several missing pieces: love, attention, purpose, and stability. It’s all boiled over into a vengeful, jealous rage. “It’s an awful feeling, like a rot, the way it just twists and turns at your insides,” she tells her sister-in-law.
Lydia’s insistence that one must compromise their identity and morality for the craft is presented at the tail end of a take that continues for more than ten minutes, completely unbroken. By the time it finishes, you feel as though you’ve just been privy to an anthropological documentary, some reflexive study of human nature. It’s staggering, and, because of its enormity, you initially become convinced that Lydia Tár is correct: sacrificing your humanity is necessary to appreciate art.
That is, of course, wrong. And that’s what’s so dazzling about this particular one-shot. Blanchett may not be monologuing per se, but the focus remains firmly on what the character wants you to believe. It’s so convincing that you’ll spend the rest of the film trying to work out whether or not Lydia Tár’s perspective—and all of the undeniable talent and intelligence that led her there—has some modicum of truth at the heart of it.
That’s what all of these performances do so well: they bore into the audience to make us participants, pondering other realities with empathy instead of just sitting rigid as mere spectators.
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The Three Must-See Movie Monologues of the YearThis year, we’ve been treated to several wonderful monologues. But none have been quite so memorable as the monologues performed by the leads in 'Pearl,' 'Resurrection,' and 'TÁR.'
Read more »