Review: Maestro

Leonard Bernstein was one of the most prolific and influential composers. You may be disappointed if you’re expecting to see a film about his influence on classical music and, in turn, musical theater. Maestro is Director and star Bradley Cooper’s biopic about the man and not the music. In fact, this movie underscores his musical accomplishments to focus on his personal life. The story follows his relationship with his wife, actress Felicia Montealegre Cohn Bernstein (Carey Mulligan), and how his sexuality impacted their marriage.

The hot topic surrounding this movie is the makeup and prosthetics. While it is distracting in tight shots at first, it’s convincing in the first act of the movie from loose shots. Cooper’s portrayal of the eccentric composer is brilliant. He didn’t seem to depend on the prosthetics but had to find a way to stand out from them. Cooper played Bernstein in an over-the-top manner. His movements are silly, and his dialect doesn’t quite sound like the composer, but instead something straight out of a 40’s movie. While Cooper had to amplify his portrayal, Carey Mulligan’s sheer talent is on display with no barriers. With a mix of a British and Transatlantic accent, she commands your attention. Her character is inviting and warm. Because of this, you’re rooting for her, and you’re on her side every step of the way. She is masterful with every eye twitch and smirk, and all but seals her fate as an Oscar nominee and possible winner with a heartbreaking scene in a doctor’s office.

Maestro zero’s in on Bernstein’s larger-than-life persona but barely scratches the surface of his work. There are quick mentions of West Side Story and his Young People’s Concerts, but it underscores how these accomplishments made him a household name. Instead, it focuses on his relationships. It’s hinted that Bernstein was a bisexual man and that his wife knew this and let him have his dalliances because she knew in some way he truly loved her and their life together. The issue is it never goes into full detail and expects the viewer to figure it out. If anything, it paints Bernstein in a bad light. If we had been given Felicia’s perspective, questions would have been answered, and we would have had more of an understanding as to how their relationship worked for so many years.

It’s odd that in a film about a famous composer, music doesn’t become a supporting character. Again, this is a movie about the man, not the music. But it’s upsetting that there aren’t any undertones of the music. There are a few scenes where he’s teaching or at a symphony where his work is at the center, but nothing is weaved through.

Maestro is shot beautifully. Cooper mimics famous film styles and strings them together like a symphony. He switches from black and white to technicolor to show the progression of time, but it’s not jarring. The edits flow together and feel magical. It’s as if he’s showing the audience that his life first felt like an old film. Chasing the American dream and having the “perfect” life. By the time we get to the second act, reality has set in. He’s becoming his true self and is living the way he wants to.

Maestro is one of the best movies of the year, but it’s not perfect. It’s visually stunning, a bit chaotic, and has jaw-dropping performances by its two leads. It could have used a different perspective to tell certain points of the story to feel more authentic and to add context. There’s a “wow” factor when it comes to the direction style, but it could have been enhanced by weaving more of Bernstein’s music into scenes. At times, it feels like an Oscar pursuit, but it’s worth it to watch the chase.