Maestro Review

Thursday 8 February 2024

Plot: This love story chronicles the lifelong relationship of conductor-composer Leonard Bernstein and actress Felicia Montealegre Cohn Bernstein.

Film: Maestro


Director: Bradley Cooper


Writers: Bradley Cooper, Josh Singer


Starring: Bradley Cooper, Carey Mulligan, Matt Bomer


It’s obvious to say that Maestro is hoping to follow in success that Tár had the year before, but unfortunately for Bradley Coopers six-year dedication to the role, Maestro misses the mark in almost every single way.


Cooper’s directorial venture, following A Star Is Born, delves into Bernstein’s intricate connections with his wife Felicia Montealegre, his complex sexuality, and his devotion to music. While the film initially portrays a troubled genius, it intriguingly emerges as a study of the genius’ spouse.


The first half of the film is showcased in,  telling the story of Bernstein’s first big break and subsequently his ascent into classical music, his romance with Felicia, and his clandestine affair with David, neither of which are explored in any great detail and I can’t tell you, after watching the entire film, how he truly felt about anyone in his life. The filmmaking is technically sound, beautiful cinematography and epic locations. However, it’s Carey Mulligan who shines brightest, embodying Felicia’s journey.


As the film transitions to color and a wider aspect ratio, reflecting Felicia’s descent into depression, the formal bravado wanes. The disintegration of Lenny and Felicia’s relationship unfolds, culminating in a powerful Thanksgiving confrontation, the Snoopy balloon from the Macy’s parade floating curiously by the window. Yet, amidst tragedy, familial warmth surfaces, highlighting the depth of their unconventional bond. Cooper seamlessly integrates Bernstein’s music, notably Mahler, enhancing pivotal moments. Mulligan’s performance remains the emotional core, elevating the film.


Despite Cooper’s charm and makeup artistry, his portrayal of Bernstein lacks depth as a filmmaker. The focus on the marriage overshadows exploration of Bernstein’s sexuality and creativity. Mulligan’s portrayal, however, captivates, making Maestro her triumph. The film doesn’t fully penetrate Bernstein’s essence, I’m left knowing little about the man and only a small amount about the music in which he dedicated his life. A few mesmerising shots and Mulligans incredible performance cannot save this forgettable film.

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