[Note: This review will discuss elements of Maestro that were revealed in promotional material, such as trailers. If you’re someone who enjoys going into recent movies knowing as little as possible, you may want to skip reading this review.]
Bradley Cooper is a talented creator, and no better is this reflected than in his passionate performances.
Even if the movies he’s in don’t always stick the landing, Cooper is a natural at becoming different people and characters, making for memorable moments throughout his filmography. This is boisterously reflected in his performance as Leonard Bernstein in Maestro. The experimental movie marks Cooper’s second time in the director’s chair, having previously debuted with his 2018 remake of A Star is Born. This time, however, the film is a much different story despite also being a romantic drama. The actor stars as the aforementioned Bernstein, best known for his creation of the Broadway musical West Side Story. However, this movie is not a biographical feature about his life as an artist. Instead, the film depicts the decades-long tumultuous relationship he formed with actress Felicia Montealegre, who would later become his wife. The story is told through a series of vignettes stylistically reflective of the time period major scenes take place in. A decision that made the film rather gripping on the outset.
Thisis because the stylization of the movie and its stellar performances were the selling point of what was being presented here. On Cooper’s direction: The film’s cinematography was impressive, with scenes structured in ways that reflected the feelings of the characters being presented therein. Scenes of excitement have plenty of quick cuts or following characters around. More serious, dramatic sequences station the shot in one position, making some scenes play out akin to an onstage drama (fitting given Bernstein’s line of work). Others still relish in chaos, using zooming shots and the occasional shaky presentation to underscore the more hectic aspects of their life together. This worked in the movie’s favor greatly, as it made each portion of the film engaging from a simple visual aspect alone. There are shots and scenes in this movie that I will remember not only for being impressive, but for being uniquely different from other major releases throughout 2023.
But even more impressive than the way the movie was filmed were the key performances bringing every scene to life. Cooper is at his greatest here, playing an engaging, multi-layered artist whose personal interests don’t mesh well with the marriage he’s entwined himself in. It’s possible to be not only angry at him for some of the things he does, but also to feel sad for the boxes he’s willing to trap himself in for the sake of social acceptance. Complimenting his leading role is Carey Mulligan as Felicia, whose ups and downs with Leonard are portrayed through a unique lens of borderline helplessness. By contrasting the way Leonard is portrayed by Cooper, Mulligan adds her own layer of engagement to the screen. When the pair are together and alone, it makes for some of the most interesting scenes of the movie.
This is made all the better by the script (also penned by Cooper), which lends to the idea that the audience is watching real people’s lives play out. The dialogue between characters feels incredibly natural, with its two main leads in particular slipping into their counterparts’ shoes with ease. It allows viewers to get a look inside both their minds, even if Leonard is taking up most of the spotlight throughout. Though perhaps this is purposeful symbolism, making it clear how the power he feels he needs to wield is something he must always hold onto. A power that slips through his grasp as he tries to live his life the way he wants, even if it hurts the person he loves the most. Such complexity bolsters every little scene, making it clear that this is a character study before it is a biopic.
Be that as it may, there did feel like there was something missing within the film’s general presentation. While I was engaged by the individualized, vignette-like nature of the movie, there appeared to be something absent when it came to the story as a whole. It was around halfway through the movie I realized that, while I enjoyed the performances and cinematography on the surface, the film’s story wasn’t as gripping as I’d expected it to be. Perhaps it was the jarring nature of its unique presentation that caught me off guard. But—from an entirely personal perspective—the film felt like it didn’t have enough substance to justify its many twists and turns throughout. As a work that showcases snapshots of Leonard’s life, the movie succeeds. But, as a movie overall, it failed to deliver a story that felt like it had consistency and a gripping premise throughout.
Given the movie is an experimental biopic, though, I’m not sure there was much that could be done to remedy this. If anything, the structure of the film itself may be reflective of the chaos within Leonard and Felica’s lives. Every new time jump upends the story viewers had been following up until then, just as the pair’s lives are upended every time Leonard makes some stride toward living the life he himself wants to live. It’s like reading a very jittery poem—let’s be honest here, probably something I would write—but with a whiplash of change at every stanza. I’m sure this worked for some people, but for me, it made the film feel slightly disjointed. However, I don’t want this criticism to negate the wildly impressive direction from Cooper, nor the incredible performances of the film’s lead actors.
Off its style alone, I would recommend watching Maestro. If you go into it like I did expecting a structured narrative, you may end up critiquing it when you give your own opinion of the movie. But, if you allow the film to play out as an art piece rather than a biopic, you’ll enjoy seeing the themes and subject matter the movie encapsulates. It may not be the kind of biographical feature some would expect, but its exploration of a stormy relationship over the course of decades was still a uniquely interesting ride. And it’s made me curious as to what projects Cooper will make next, any of which I’m willing to watch based on the way he crafted this one.
The intriguing presentation of this film alone makes it a worthwhile watch.
***
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