Bradley Cooper channels superstar conductor Leonard Bernstein in splendid new biopic
Maestro
Starring Bradley Cooper and Carey Mulligan
Directed by Bradley Cooper
Rated R
In limited theatrical release Wednesday, Nov. 22; on Netflix Dec.
You don’t have to know much, or anything really, about Leonard Bernstein (who died in 1990) to fall under the spell of Maestro, the majestic musical biopic about the superstar composer and conductor who won seven Emmys, two Tonys and 16 Grammys, wrote the Broadway musical West Side Story, composed symphonies, operas, chamber music and choral masses, and became the first American conductor to lead a major orchestra. He was also the first conductor to take classical music to the general public via television, and he led, at one time or another, almost all the world’s most prestigious symphony orchestras.
He was the famous “face” of classical music for decades.
The film shows Bernstein’s vibrant, exuberant life through the complicated, clouded prism of his relationship with his wife, Felicia Montealegre (a splendid Carey Mulligan).
Bradley Cooper, who both directs and stars, is nothing short of amazing, morphing (with the help of a prosthetic nose) into the demanding role as the charming, chain-smoking Bernstein, a live-wire, wild-haired musical genius with a voracious, nearly insatiable appetite for life and love. “I want a lot of things,” he says; he wants to write, to conduct, play piano and make a musical bridge for his creativity to become manna for the masses.
He also wants to love both men and women. Which is ok, to some extent, with his wife…until it isn’t. Mulligan gives a searing, carefully nuanced performance as the Chilean-born TV and Broadway actress who sacrificed much of her own career to support her husband’s rising star and become his muse, rearing their family while dealing with his ongoing attraction to other men.
Cooper was previously lauded for his directorial debut, A Star is Born, which received multiple Oscar noms and a pair of Grammys. But Maestro is his magnum opus, a superbly crafted demonstration of his full confidence on both sides of the camera as it sprawls across the decades, from the black and white New York City of the ‘40s through the colorfully swingin’ ’60s, into the go-go haze of the ‘70s and the cocaine-fueled ‘80s. There’s already Oscar buzz for both Bradley and Mulligan (who was herself also previously Oscar nominated, for the stinging #metoo slap of Promising Young Woman.)
You know it’s the holidays when Snoopy placidly floats by a window in the Macy’s Thanksgiving Day parade—just after Lenny and Felicia’s scathing domestic disagreement in the family’s Park Avenue penthouse apartment. I loved the scene where an elderly Bernstein grooves in a nightclub, drunk or coked up or maybe just high on life, to Tears for Fears’ “Shout.” To cop a line from that song, Cooper “let it all out” to become Bernstein so completely and convincingly, I did a double take when images of the “real” Bernstein came onscreen during the credits.
The clothing, the hairdos, the rapid-fire, rat-a-tat-tat dialogue, the changing look of the changing times—all spot-on. And the orchestral concert-hall performances, with Cooper approaching something that looks like ecstasy as he “feels” the notes and slices through the air with his baton, the sound coursing through him—well, it will course through you as well, sweeping you up and away in the grandiose, transcendent power of music. Bravo!, maestro!
—Neil Pond
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