Maestro (15)

Dir: Bradley Cooper

Cast: Bradley Cooper, Carey Mulligan, Matt Bomer, Maya Hawke, Sarah Silverman, Michael Urie

After a messy start, Bradley Cooper’s well crafted Leonard Bernstein biopic eventually finds its footing as a showy overview of the composer’s tremendous talent and complex marriage.

Back in 2019, there was public outcry following Bradley Cooper’s egregious snub for Best Director at the 91st Academy Awards. Much beloved by fans and fellow actors alike for the best part of two decades, Cooper is still awaiting that elusive first Oscar statuette, despite being nominated nine times for his efforts both in front and behind the camera. Cooper’s first directorial feature was the surprisingly touching retelling of the classic tale of stardom and heart-break, A Star is Born, which he also starred, alongside Lady Gaga. There were many high profile rumours circling at the time, suggesting the pair were engaging in extra marital affairs. This was never proven or admitted by either actor, with the accusations materializing purely off the natural chemistry between the pair on screen.

Five years on from ‘A Star is Born‘s release and Cooper is back in the director’s chair for his sophomore feature, ‘Maestro‘, a tender yet extravagant look at the troubled but successful life of American conductor and composer, Leonard Bernstein. Despite his natural talent and musical gift, Bernstein was a contradictory figure, who throughout his life had countless affairs with both men and women. Bernstein was a sexually open man, and was unsure of how to open up as a homosexual during the 1940’s, believing it would damage his reputation, potentially costing him his career. It was in Bernstein’s best interests to marry his then girlfriend, Felicia Montealagre Cohn, in order to keep up appearances and continue on his path to becoming the all time greatest American composer.

It is this internal struggle between Bernstein’s career and sexuality that Cooper focuses the biopic, with the complex marriage between Leonard and Felicia taking centre stage. ‘Maestro‘ plays out almost like a scrapbook of Bernstein’s career, with its non-linear structure placing the audience at key moments throughout his life, filled with glittering musical achievements and occasionally explosive domestic tension.

The first act of ‘Maestro’ is presented in an old-school black and white format, which would have been the style at the time, as we are sent back to 1943 New York. It is here where a then 25-year-old Bernstein (Bradley Cooper), is called up to lead the New York Philharmonic at Carnegie Hall. Fleeting moments highlighting Bernstein’s early career as a musician are swiftly brought to a halt when he meets up and coming actress, Felicia (Carey Mulligan), at a house party. The two have a natural chemistry and are immediately smitten during a sequence of heightened reality as Bernstein seemingly takes centre stage during a performance of On the Town.

After the initial honeymoon period and subsequent marriage, the now middle-aged couple’s relationship begins to take a hit as a a result of Leonard’s professional and sexual desires. Switching from black-and -white to a New Hollywood aesthetic, we begin to witness Felicia’s growing frustration of living in her husband’s shadow, essentially killing her once promising acting career, as well as witnessing his numerous affairs in plain sight. This dynamic between the couple is where the film truly shines, there is no question Leonard loves Felicia, this is emphasised from the outset, but can Felicia continue to sit idly by as her husband desires and openly pursues an increasing number of young men.

Over the past twenty years, Cooper has become well-respected as an actor in both dramatic and comedic roles. I was surprised as anyone at the level of maturity and craft he managed to showcase as a filmmaker on ‘A Star is Born’ , and the 48-year-old only further elevates his game here. ‘Maestro’ is a bold and occasionally innovative feat in filmmaking, that finds a perfect harmony between cinema and the music for which Bernstein became synonymous. I appreciate that Cooper takes a big swing here, from the old-school non-colour sequences to the vibrant technicolour scenes of the 1960’s and 1970’s, cinematographer Matthew Libatique is able to capture the exuberance and legacy of Bernstein’s life. Cooper’s directing and music use of music naturally blends the line between reality and stage play as the many musical scores and songs which Bernstein became known for, are present throughout the film’s runtime. The most powerful use of music is an incredible extended sequence which Bernstein composes Gustav Mahler’s Symphony no. 2 at Ely Cathedral. Cooper allegedly trained as a composer for years to nail the pivotal scene that bridges the middle and final act, and the hard work was worth it, resulting in a truly cinematic achievement and one of the best scenes I have seen put to screen this year.

For all the positives, for which there is plenty including career high performances from both Cooper and Mulligan, I do have some reservations, particularly with the first act. During the block-and-white sequences, there is a sense that Cooper and editor, Michelle Tesoro, lose their way, as the melodrama becomes side-lined for a fast-cutting, almost montage like series of stand alone events. The lead up to and eventual marriage of Leonard and Felicia feels like an amalgamation of induvial scenes with no real through line, making it difficult to feel the passion in their relationship despite the constant reminders from the aged Bernstein in the opening prelude. It is not until the technicolour sequences that the film finds its footing, and the scenes are finally allowed the room to breathe. This allows us to get a much more detailed look at the psyche of both central characters, culminating in a warm yet heart-breaking ending.

Maestro will no doubt be a strong contender come nomination morning for the Academy Awards on 21st January, with a Best Picture nomination highly likely. The question is, will Cooper finally get that deserved directing nomination that evaded him five years ago.