MAESTRO at the New York Film Festival
by Jason Godbey
Maestro is a biopic of legendary conductor/composer Leonard Bernstein directed by and starring Bradley Cooper as Bernstein with Carey Mulligan as his wife Felicia. We open on Cooper in old age makeup playing a melancholy tune on piano. We pull back to reveal a television camera crew interviewing him — the framing device for the story.
As we enter the story through flashback, we transition to a stark black and white image reminiscent of Citizen Kane. With this image, we are clued in to the masterpiece Cooper wants to witness. This is going to be epic! This is his Citizen Kane, and he wants us to know it. He’s swinging for the fences with this film and wants it to get all the awards.
Therein lies the problem of Maestro. It’s not so much a movie as it is weaponized Oscar bait. It’s as if someone had created a formula to win over critics and get all the prestigious awards, and Maestro follows it to the letter. Biopic of someone famous, check. Strong central performances, check! Beautiful photography and production design, check! Transformative makeup for the lead actor/director, check! An epic score written by the film’s famous subject, check! Finish off with a splash of edgy controversy, “and the Oscar goes to…”
Technically Maestro has it all, and it’s well-executed. You’d be hard pressed to find a better-made movie, but is it trying too hard? At times it seems the film tries to win the audience over by sheer force of will. It’s telling us with every breath “look at me! I am amazing and deserve all the accolades I’m about to receive.” While all of its technical elements are astounding, what Maestro lacks is a soul. At no time does it draw you in to feel for the characters. It seems we’re just there to marvel at its brilliance. e
That is not to say the film is without merit. It’s amazingly well-crafted and brilliant to look at. There are also some stellar performances particularly from Mulligan as Felicia. Her chemistry with Cooper is palpable from the moment they meet. It’s love at first sight, and she’s able to convey genuine emotion despite some rather theatrical dialogue and speaking in a rather affected accent. She plays Felicia from the time she enters Bernstein’s life until her death. If there’s any real emotion to be had, it’s for her. Mulligan has been twice nominated for an Oscar, I’d be surprised if she doesn’t receive another for this performance.
Matthew Libatique’s cinematography is stunning. This film is a cinematographer’s dream, and his work really does evoke memories of the greats like Greg Toland and Gordon Willis. There are shots that seem to be right out of Woody Allen’s Manhattan and Annie Hall. Libatique has also been nominated twice for the Academy Award but has not yet won. He should definitely be nominated for his work here and should probably win.
Some critics have faulted Cooper for not showing what most would consider the core of Leonard Bernstein, the music. He only really speaks about his love for music and his work in a few scenes, but Cooper illustrates the character’s passion for music through this performance when we see him conducting an orchestra or a choir, and in one short scene where he teaches a young student.
There was some controversy over Cooper’s use of a prosthetic nose, but his resemblance to Bernstein is undeniable. It’s a brilliant makeup design and works for the movie. We also see him age throughout and the age makeup is some of the best ever filmed.
The score is comprised of Bernstein’s music which of course is brilliant. It seems overwrought at times. The swell of music used for Carey Mulligan’s first appearance would probably be more appropriate for tanks rolling down the street, but there are some more subtle and clever uses of Bernstein’s music, and the musical performances in the film are nothing short of phenomenal.
For those savvy about movie making, they’ll see this film for all of its technical marvels and elements, but for all their wonder, we’re left more detached from the characters and the story than we are moved by them. I can see this film as being polarizing for both fans and critics, so it’s difficult to recommend. If you happen to be a film critic or an awards show aficionado, this film is a must-see.
Originally published at http://behindtherabbitproductions.wordpress.com on October 15, 2023.
