Maestro has already proven to be divisive, which is actually a good sign for a biopic. If a film like that placates everyone, it would mean the death of biographical dramas, n0 less. Bradley Cooper plays composer and conductor Leonard Bernstein in this Oscar contender, but don't worry, you don't need to know too much about the life and work to submerge yourself into the film world. Because Maestro focuses on a relationship—Bernstein's marriage to his wife Felicia—your attention will be split in two: between Carey Mulligan's torrential talent (playing a soured wife) and Cooper's own masterful confusion as his character oscillates between said wife and quite a few men. If that can make a scandalous story, the film refuses to twist it; on the contrary, Maestro is a respectful examination of the complexities of a marriage. Even better, it's achingly good melodrama.
Synopsis
A towering and fearless love story chronicling the lifelong relationship between Leonard Bernstein and Felicia Montealegre Cohn Bernstein. A love letter to life and art, Maestro at its core is an emotionally epic portrayal of family and love.
Storyline
Bradley Cooper's sophomore film chronicles the relationship between famed composer Leonard Bernstein (Cooper) and his wife, Felicia Montealegre Cohn Bernstein (Carey Mulligan).
TLDR
Bravo, Bradley, BRAVO!
What stands out
Even if non other than Martin Scorsese was supposed to helm this film, we thank the studio gods that it was Bradley Cooper in the end. His follow-up to A Star Is Born is no small fish: another film about music, love, and pain. Maestro is a more conventional biopic, but Cooper's inventiveness can really shine through that particular framework. Of course, he directs himself again in the main role, but as in his debut, the women steal the show. No wonder, he's actually happy to step away so they can take the stage. The way he directs Mulligan brings out the very best of an actress who is already at her best, and its her performance that gives the profound depth his own Leonard needs in order to not only be believable, but to exist. When it comes to visual flair, Maestro shape-shifts between monochrome and color, sustaining a beautiful illusion about the psychological parallels between reality and fiction. All this, and it's still as far away from kitsch as it can possibly be: a job well done, maestro direttore!
