"Maestro," Bradley Cooper's ambitious foray into the life of the legendary Leonard Bernstein, is a film that seems to hit all the right notes visually but struggles to find a coherent melody in its narrative. As one reviewer aptly puts it, the film's primary flaw is its inability to answer the crucial question: would this story be interesting to someone unfamiliar with Bernstein's legacy?
The first third of "Maestro" attempts to capture the genesis of Bernstein's relationship with actress Felicia Montealegre, his wife-to-be, shot in black and white. However, this period is presented without significant conflict, leaving audiences yearning for more depth in portraying Bernstein's personal and professional journey.
Bradley Cooper, who not only directs but also stars in the film, convincingly looks the part in his portrayal of Bernstein, but it's Carey Mulligan who steals the show as his wife. However, their performances can only carry the film so far when the dialogue and narrative are decidedly banal and inconsequential. Despite the film's visual splendor and meticulous attention to historical detail, it falls into the trap of offering style over substance.
The film superficially delves into the complexities of Bernstein's personal life, particularly his relationships, both heterosexual and homosexual. While the movie discreetly hints at the latter, it leaves the audience yearning for a deeper exploration of these facets, which might have added more layers to the character. The ambiguity surrounding his shadowy lovers becomes a missed opportunity, leaving us wondering about the emotional and intellectual aspects of those relationships.
Cooper's weakness in imagination regarding Bernstein's early history becomes apparent, especially when compared to the effective storytelling seen in Netflix's historical drama "The Crown." The absence of engaging anecdotes from Bernstein's early life contributes to the film's struggle to captivate the audience.
The second third of the film finally introduces conflict into Bernstein's relationship with Felicia, particularly addressing his homosexuality. This segment offers a glimpse into their emotional dynamics, with Felicia expressing anger not about his sexuality but perhaps rooted in his perceived failure to reach his potential-a sentiment potentially linked to a difficult upbringing by his father.
Cooper attempts to humanize Bernstein by showcasing his flaws, notably his philandering relationships with men. However, the portrayal of Felicia as a long-suffering wife becomes somewhat of a trope.
Regrettably, "Maestro" falls short not only in its portrayal of Leonard Bernstein's personal relationships but also in capturing the broader spectrum of his impactful life. One conspicuous absence is the significant event where the Bernsteins invited the Black Panthers to a dinner party, as chronicled in Tom Wolfe's infamous essay. This pivotal moment in Bernstein's life underscored his engagement with social and political issues, providing a glimpse into the multifaceted nature of his character. The film's omission of such crucial incidents contributes to the overall sense that "Maestro" tends to prioritize the mundane over the monumental, leaving audiences with an incomplete picture of Bernstein's rich and complex legacy.
The film falls into the trap of hagiography, failing to fully reveal the wit and charisma that made Bernstein an iconic figure. The movie struggles to make the audience truly like or understand the man beyond his musical genius.
Despite Cooper's efforts to inject some turmoil into the second act, "Maestro" ultimately falls short of providing a nuanced and engaging portrayal of Leonard Bernstein's complex life. The commendable depiction of Bernstein caring for his dying wife in the last third of the film takes a turn toward the mundane and lacks conflict machinations, further emphasizing the film's overall struggle to infuse vitality into the narrative. The trajectory of missed opportunities and a lack of imaginative storytelling leaves the audience yearning for more depth and substance.
The first third of "Maestro" attempts to capture the genesis of Bernstein's relationship with actress Felicia Montealegre, his wife-to-be, shot in black and white. However, this period is presented without significant conflict, leaving audiences yearning for more depth in portraying Bernstein's personal and professional journey.
Bradley Cooper, who not only directs but also stars in the film, convincingly looks the part in his portrayal of Bernstein, but it's Carey Mulligan who steals the show as his wife. However, their performances can only carry the film so far when the dialogue and narrative are decidedly banal and inconsequential. Despite the film's visual splendor and meticulous attention to historical detail, it falls into the trap of offering style over substance.
The film superficially delves into the complexities of Bernstein's personal life, particularly his relationships, both heterosexual and homosexual. While the movie discreetly hints at the latter, it leaves the audience yearning for a deeper exploration of these facets, which might have added more layers to the character. The ambiguity surrounding his shadowy lovers becomes a missed opportunity, leaving us wondering about the emotional and intellectual aspects of those relationships.
Cooper's weakness in imagination regarding Bernstein's early history becomes apparent, especially when compared to the effective storytelling seen in Netflix's historical drama "The Crown." The absence of engaging anecdotes from Bernstein's early life contributes to the film's struggle to captivate the audience.
The second third of the film finally introduces conflict into Bernstein's relationship with Felicia, particularly addressing his homosexuality. This segment offers a glimpse into their emotional dynamics, with Felicia expressing anger not about his sexuality but perhaps rooted in his perceived failure to reach his potential-a sentiment potentially linked to a difficult upbringing by his father.
Cooper attempts to humanize Bernstein by showcasing his flaws, notably his philandering relationships with men. However, the portrayal of Felicia as a long-suffering wife becomes somewhat of a trope.
Regrettably, "Maestro" falls short not only in its portrayal of Leonard Bernstein's personal relationships but also in capturing the broader spectrum of his impactful life. One conspicuous absence is the significant event where the Bernsteins invited the Black Panthers to a dinner party, as chronicled in Tom Wolfe's infamous essay. This pivotal moment in Bernstein's life underscored his engagement with social and political issues, providing a glimpse into the multifaceted nature of his character. The film's omission of such crucial incidents contributes to the overall sense that "Maestro" tends to prioritize the mundane over the monumental, leaving audiences with an incomplete picture of Bernstein's rich and complex legacy.
The film falls into the trap of hagiography, failing to fully reveal the wit and charisma that made Bernstein an iconic figure. The movie struggles to make the audience truly like or understand the man beyond his musical genius.
Despite Cooper's efforts to inject some turmoil into the second act, "Maestro" ultimately falls short of providing a nuanced and engaging portrayal of Leonard Bernstein's complex life. The commendable depiction of Bernstein caring for his dying wife in the last third of the film takes a turn toward the mundane and lacks conflict machinations, further emphasizing the film's overall struggle to infuse vitality into the narrative. The trajectory of missed opportunities and a lack of imaginative storytelling leaves the audience yearning for more depth and substance.