Maestro (2023) Review!!

Synopsis – The complex love of Leonard and Felicia, from the time they met in 1946 at a party and continuing through engagements, a 25-year marriage, and three children.

My Take – Though he famously came into the limelight following his breakthrough role in the comedy The Hangover (2009), as a performer Bradley Cooper quickly shed the “good looking leading man” image, following a few blockbuster missteps, by pairing up with prestige filmmakers, some of which resulted into the likes of American Sniper (2014) and Silver Linings Playbook (2012).

Playing characters roles (mostly still lead) which allowed him to expand upon and prove his well woven dramatic capabilities. And while he continued to rake up producer credits along the way, true prosperity came in the form of the fourth American adaptation of A Star is Born (2018), with which Cooper marked his directorial debut, along with co-writing and staring. The resulting film was not only a massive critical and commercial success, but also ended up receiving numerous accolades along the way.

Five years on, Cooper has returned to direct, co-write and play the lead in another fine music-based project, albeit one very different in tone. A biopic of American composer and conductor Leonard Bernstein, the man behind the music of On the Waterfront (1954) and West Side Story (1961).

Produced by Martin Scorsese and Steven Spielberg, as a storyteller Cooper forgoes the usual tropes in tales like this one, instead with a prosthetic nose that is surprisingly unobtrusive, he captures Bernstein‘s theatrics as conductor without being excessive, but spends most of the film’s 129 minute run time examining his life through the lens of his complicated time-spanning love story with his wife, Felicia Montealegre, the Chilean-Costa Rican actor and social activist famous for her performances in televised dramas to roles on and off Broadway.

Masterfully directed and terrifically acted, the film is indeed a great testament to Bradley Cooper‘s range as both a filmmaker and an actor. And the script, co-written by Josh Singer (Spotlight, The Post) is wonderful and expertly, unconventionally and expertly paced.

Making this one as a serious contender in several prestigious categories for next year’s biggest awards, and definitely one of the best of the year.

Set between 1943 and the late 1980s, the story follows Leonard Bernstein (Bradley Cooper) who at the age of 25 find himself thrust into the spotlight when the originally performing conductor falls ill, allowing him to debut at New York Philharmonic.

Being exceptional as a substitute, Leonard enjoys a rapturous reception from the audience. At this time, Leonard is in an intermittent romantic and sexual relationship with clarinetist David Oppenheim (Matt Bomer), but his life takes a unique turn, when he meets Felicia Montealegre (Carey Mulligan), an aspiring actress, at a party.

After immediately hitting it off, the two quickly begin dating, marry and ultimately have three children. However, as both Leonard and Felicia find immense success in their respective careers, cracks begin to appear in their marriage, mainly as Leonard is bisexual and can’t give up on his male lovers. He adores Felicia but continues to betray her. She thinks she understands his nature and can deal with his infidelity, but ultimately ends up being devastated by his deceptions.

This one is primarily a study of the relationship between two artists, one a well-regarded Broadway actress and the other a once-in-a-generation musical genius. As both director and actor, Bradley Cooper isn’t afraid to go showy and flamboyant, and his approach works within the contours of legendary conductor and composer Leonard Bernstein’s larger-than-life personality and unfettered hedonism. His stylistic choices, particularly the use of black-and-white and color cinematography to signify different eras, do contribute to the film’s visual richness.

The deliberate shifts in tone and aesthetic capture the evolving periods of Bernstein’s life, offering a visual metaphor for the various chapters. He generally finds original ways to frame scenes. Several of the most heated spats between Bernstein and Felicia take place in the bedroom, as he is changing his socks or folding his trousers.

There’s a devastating moment of betrayal in which Bernstein is spotted by Felicia at the end of a corridor in an embrace with his lover Tommy (Gideon Glick). She doesn’t say anything and he tries to pass it off as nothing important, but it’s at this point their marriage begins to unravel.

However, at times, these stylistic decisions do verge on becoming distractions, overshadowing the narrative flow.

Nevertheless, Carey Mulligan‘s portrayal of Felicia Montealegre emerges as the film’s anchor, infusing depth and emotional resonance into the story. There’s a reason that Mulligan is billed first because this is her film just as much as Cooper‘s, if not more. She exudes elegance flawlessly and the early scenes in which the relationship begins to form has a real spark to it. As the film pivots around the dissolution and revival of their union, Mulligan‘s prowess shines, elevating the emotional stakes.

Aided by Kazu Hiro‘s faultless make-up, Bradley Cooper too gives one of the best performances of his career. No doubt he has worked very hard to capture the speech, mannerisms, and the Bernstein attitude and texture toward music. He is shown playing the piano seemingly very proficiently. Everything about his performance from the hair to the gestures to that already notorious nose has clearly been thought about deeply. I cannot speak highly enough of his performance.

The duo are also well supported by Sarah Silverman, Maya Hawke and Matt Bomer who had their own to the film. On the whole, ‘Maestro’ is a mesmerizing portrait of a genius bolstered by masterful film-making and performances.