Cooper and Mulligan hit the right notes of music, drama, and romance.
Bradley Cooper’s directorial follow-up to the fourth film version of “A Star is Born” is “Maestro,” in which he portrays the selfish, but brilliant composer Leonard Bernstein. With a large list, including composing music for classic films like “On the Waterfront” or “West Side Story,” this genius knew his music like the back of his hand. And in this movie, he passionately shares his tastes during interviews.
But it also shows us Carey Mulligan igniting such radiance as his future wife-the actress Felicia Montealegre. We see these two trading secrets and playful games with each other, raising a family, and dealing with the pathos within their relationship. It feels like something out of the Golden Age of Hollywood, and I do try to be optimistic in a time when movies aren’t always what they used to be. They can bring out originality, if only they had the courage. This movie has that.
“Maestro” doesn’t top “A Star is Born,” but it is further proof that Cooper can broaden his horizons as an actor. Maybe even enter the range that Clint Eastwood has displayed as both an actor and filmmaker. And maybe one day, he can direct a movie that he doesn’t act in, and it can still be great. For now, we’re able to see him portray Bernstein with likable and unlikable qualities. It’s a role you probably would never have guessed he would portray, especially the way he displays the voice and consistency.
We also see Bernstein as gay or bisexual, fooling around with men like clarinetist David Oppenheim (Matt Bomer) or Tommy Cothran (Gideon Glick). These moments can cause Felicia to be despondent with her husband, and their daughter Jamie (Maya Hawke) dealing with the gossip. The most distinguished of these moments is when the wife finds out about her husband’s interests during a show, walks out of the building pensively and quietly, and leaves her husband’s pajamas and toothbrush outside their room. You don’t always need words to express your emotions, and Mulligan expresses it quite well.
Like Christopher Nolan’s “Oppenheimer” this year, the past segments in “Maestro” are filmed in black and white, while the present segments are in color. It really keeps things in perspective when it comes to scenes jumping back and forth in time, but mostly they’re beautifully photographed by Matthew Libatique (who also collaborated with Cooper on “A Star is Born”).
In the black and white scenes, we see Leonard and Felicia falling in love, and him showing her a sample of his play “On the Town” with the sailors segment, among others.
In the colored scenes, we see Cooper disguised as the older Bernstein, we see him performing in front of a big crowd with the right ambiance and moods, and we see Felicia dealing with her breast cancer.
“Maestro” may not always balance its screenplay (which was co-written by Josh Singer, the same genius behind “Spotlight” and “The Post”), but it does explode with great intensity. The music in the film uses Bernstein’s work, instead of using a different composer, which makes sense out of respect. From the concert performances to the reality of the characters, it all feels like a work of art. And I may not be able to get inside the minds of people about why they do what they do, but as I’m watching this movie, I’m able to acknowledge the behaviors and decisions.
You may or may not agree with how Bernstein lived his life, and you may be offended by how Cooper used a prosthetic nose to portray a Jewish composer (according to what I have read), but you may also look past all that, and see what this dramatization can bring out. The majority of the performances by Cooper and Mulligan, the selfish choices of such a genius, and the complexity of the drama all make this movie entertaining.
Now Playing in Select Theaters
Streaming on Netflix December 20