Maestro Review

Cooper’s highly anticipated follow-up to his feature directorial debut “A Star is Born”. His follow-up, intentional or not, is another music-focused film. This time a biopic of American Conductor/Composer Leonard Bernstein.

Focusing specifically on his relationship with his wife Felicia. Bradley not only is in charge behind the camera but takes center stage as Leonard and Carey Mulligan plays Felicia his wife.

Whether he planned on it or not, Bradley Cooper is our generation’s Warren Beatty. He’s a smart charismatic movie star who has an eye for filmmaking. His directorial debut was with existing material, cutting his directorial chops.

Beatty’s was Heaven Can Wait a remake of 1941’s Here Comes Mr. Jordan. Bradley’s was the fourth version of A Star is Born. Both of their follow-up films were huge passion projects. Beatty’s was Reds, a miracle of a film that is still confounding that it got made.

Cooper’s is less ambitious, but it is just as large of a passion project. Production began in 2018 and went through a few studios eventually landing at Netflix in January of 2020. Neither ever lost sight of the project they wanted to make.

Lastly, this comparison is apt because of the Oscars. In my research Beatty seems to be the only person ever nominated for Picture (Producer), Director, Acting, and Writing. Plenty of people have been nominated in three, but not all four during their careers.

Will the accumulating accolades Cooper could become the second person to be nominated in four categories. He is only missing directing, so could this be the year?

It’s possible, this film has been getting a lot of critical love. It’s currently showing in theaters but will be available for everyone on Netflix beginning December 20th. Though this is not a conventional biopic, that is its strength, I think audiences will be won over as well.

There would not be a comparison to Beatty if Cooper was not a good director. It was obvious in his first film that he has a knack for direction. He has an understanding of shot composition and storytelling.

From a story aspect, this film is astounding, seeing certain moments in Leonard and Felicia’s life play out on stage as if they’re playing in Leonard’s head. Instead of this being another cradle-to-grave biopic we get a large period but a focused one.

It’s on Leonard and Felicia’s relationship. How strained it was with Leonard's sexual orientation and proclivities. However, I wish this would’ve been explored more. Instead, we get many knowing looks from Felicia and some arguments.

Carey Mulligan is very good at these knowing looks and expressing emotion in these looks. I struggled with Bradley Cooper as Leornard only because when I can see an actor “trying” it takes me out of the movie. Bradley is trying so hard here that I was taken out of the film.

A surprising performance of someone I did not even know was in the film is Sarah Silverman as Leonard’s sister. She’s perfect here and hats off to Sarah and Bradley for helping to that performance.

Lastly, I want to touch on a scene, which was touted as the scene of the year by some critics. Leonard is conducting an orchestra and choir in the Ely Cathedral in the United Kingdom. They’re performing Gustav Mahler’s “Resurrection Symphony” specifically the final movement.

It’s a powerhouse composition. It’s incredible to hear in the acoustics of the cathedral, and when the scene ends Leonard embraces Felicia after they had a huge fight the scene prior. It’s highly emotional and set to the perfect piece of music.

Though this actually happened in Berstein’s life it still feels like Mahler’s symphony is elevating the scene. It’s Bradley’s understanding of the power of this music and placing it where it is in the film.

And if you want to know what effect this film will have on audiences, there were audible claps from moviegoers in my theater. This film will play well with audiences.

It’s a good movie that I still have some reservations on. Cooper’s prowess as a filmmaker has grown since A Star is Born and it’s clear he is a filmmaker of the future, our next Warren Beatty. The question is; When do we get his Rules Don’t Apply?

Look for this film on December 20th on Netflix.

4/5 Stars