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A movie about a prominent and influential figure of the 20th century may be the top contender for the Oscars, but there is another biopic worth considering. This one follows a man whose brilliance made him one of the most remarkable figures of the past century. His artistic talents brought immense joy to millions and continue to do so. This man also had a monumental impact on the world, undoubtedly for the better. I am referring to the great Leonard Bernstein, and Bradley Cooper’s “Maestro” explores his life and career through the perspective of his marriage to Felicia Montealegre (played by Carey Mulligan).
The success of Maestro is remarkable in every way. Bradley Cooper delivered a convincing performance as Bernstein over the course of four decades, with much credit going to Kazu Hiro for the exceptional makeup work (which earned a nomination for an Oscar). Not only did Cooper star in the film, but he also co-wrote and directed it. He spent six years studying conducting and learned to play the piano, demonstrating his expertise as a maestro. Even members of the London Symphony Orchestra, who had previously worked with the real Bernstein in the 1980s, were taken aback when they saw Cooper in character on set for the scene at Ely Cathedral.
Cooper has faced criticism for getting emotional during an interview while discussing his relationship with the late Bernstein. Despite passing away in 1990 when Cooper was 15, Bernstein had a significant impact on his life during the time they spent together. Cooper believes that he has taken on some of Bernstein’s energy and feels a strong connection to him. It is understandable that he would get emotional while reflecting on the man who he embodied for many years. The sense of grief he must currently experience is evident.
The film, created in collaboration with and authorized by the three children of the Bernsteins (including a prosthetic nose), does not serve as a hagiography. While the initial viewing may be captivating, showcasing Bernstein’s exceptional talent and fervent joy in his own brilliance, upon closer examination, the film also presents an insightful and delicate portrayal of Bernstein’s inner turmoil as he navigated between his private and public personas, and his love for both men and his family. The film also addresses the ugliness of antisemitism and homophobia, the tragic passing of Felicia, and glimpses into the pain she experienced living in the shadows of her husband, who, as she states, “drains all the energy from every room and robs us of the opportunity to live and be our true selves.”
Mulligan and Cooper, both nominated for their brilliant performances, capture the intimacy and love of this intellectually and emotionally charged marriage, while also delving into its complexities and challenges. The rapid-fire conversations between the two are as exhilarating as the camera work, which alternates between sweeping and lingering to highlight even the smallest details. Whether it’s the morning light streaming through a barely opened window with the anticipation of a show about to begin, a paper plane floating down a grand apartment stairwell in Central Park, or a discarded toy Snoopy foretelling the impending unraveling of the Bernsteins’ marriage, every moment is captured with a surreal and absurd beauty.
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The music plays a significant role in the film, particularly in the scene where Cooper’s Bernstein conducts Mahler in Ely Cathedral for six minutes straight. This is considered one of the best scenes in any film, as Bernstein becomes one with the music while conducting the final movement of Mahler’s “Resurrection” symphony. Bernstein’s own music is also weaved throughout the film, highlighting some moments and underscoring others. However, the most poignant and emotional moment is when the soundtrack for the Clapping Song is played.
By the end of those three hours, I was exhausted from dealing with Oppenheimer and eager to put Barbie away. However, I left feeling a desire to spend more time with Maestro, listening to his music and being immersed in the world so carefully crafted by Cooper.
Source: theguardian.com
