This love story chronicles the lifelong relationship of conductor-composer Leonard Bernstein and Felicia Montealegre Cohn Bernstein.
Chuck says:
Ambitious and immersive, Bradley Cooper’s Maestro proves to be a showcase for its two principal performers, as this biopic of Leonard Bernstein, conductor – composer – philanthropist- philanderer, pulls no punches in its portrayal of him or his wife Felicia. Cooper wears many hats here. In addition to taking on the titular role, he co-wrote the script with Josh Singer, directed the film and served as one of its producers. The good news is there’s no sophomore slump at play here. A Star is Born was no fluke and if anything, Maestro is more assured, a confident piece of work in which Cooper makes definite, and at times, radical choices, and sticks with them until the end. If there’s a downside, it’s that Maestro is pitched to those already familiar with Bernstein’s life and career. If you only have a cursory background of the man, you may feel at sea throughout.
Using an interview done in 1989 as a framing device, the film opens with Cooper in full make-up as the elder Bernstein. It is an astonishing sight as, aided by the amazing work of Kazu Hiro and the actor’s subtle vocal adjustments and grasp of the artist’s mannerisms, it’s as if we are witnessing archival footage of the famed musician. It is a complete transformation that, despite the prosthetics at play, would not have worked without Cooper’s full commitment to this role.
What unfolds is a flashback narrative which alternates between recreations of some of Bernstein’s career highlights and, more importantly, his private life. We witness the career-making day when he’s asked at the last minute to fill in for ailing conductor Artur Rodzinski, his working with Jerome Kern on On the Town, the triumphant 1973 performance of Mahler’s Resurrection at Ely Catherdral, his commitment to his famed children’s concerts and all the while, in between, glimpses of his scratching out notes or noodling at the piano, working at numerous different projects.
Yet, it becomes apparent that the relationship between Bernstein and his wife Felicia (Carey Mulligan) is the foundation of the film, the throughline that ties everything together, as it was with his life. Their meeting at a party in the late 1940’s and courtship is seen as a Hollywood fairy tale, while a sense of elation continues between them as they marry, begin a family and more up the New York City social ladder. The crisp black-and-white imagery gives way to vivid color as the story continues into the 60’s and 70’s, his fame growing, their relationship splintering.
Theirs was a bohemian arrangement, one in which Bernstein was allowed to pursue other partners, mostly men, while Felicia turned a blind eye until she could do so no more. Hubris proves to be Bernstein’s Achilles heel, his genius used as an excuse for boorish, selfish behavior that would not be tolerated in mere mortals. Singer and Cooper lay bare this aspect of the man, one who looked at life as a feast that he was determined to consume every bit of. It’s far from complimentary but it is honest. That being said, it isn’t the dominant aspect of how he’s presented, but rather as only part of this complex, and at times, tortured individual.
To be sure, this is a sumptuous production, no expense being spared in recreating the four decades over which it takes place. However, it’s Cooper and Mulligan who keep it all together. The chemistry between them is obvious, their scenes crackling either with sexual tension, subdued anger or unspoken love. Whether making eyes and flirting or expressing long suppressed grievances while hurling barbed insults at one another, these two hold us in rapt attention.
If there is a flaw, it’s that this seems made for those with more than just a passing knowledge of Bernstein. There’s little context provided regarding how the work we see Bernstein doing builds towards his success or at times, specifics provided regarding what or when we are seeing him perform. This leads to a bit of frustration and the film takes on a fragmented feel during its middle section, so many events flashing by, a lack of cohesion setting in what with the lack of dates being provided and concerts going unnamed.
Still and all, Maestro, while complex and challenging, is engaging and when the music takes center stage, which is not often enough, it soars. The highlight is the Ely Cathedral sequence, the camera subtly gliding through and around the orchestra, closing in on and retreating from Bernstein, while Cooper displays the composer’s fervor for his music by recreating how he would use his entire body to channel his feelings. It’s the highlight of the film and one of the best scenes of the year, one that encapsulates the energy Cooper and company bring to this passionate, if at times, disjointed movie.
3 Stars.
