Bradley Cooper returns to the director’s chair in Netflix’s “Maestro.” The biographical drama is a sweeping portrait of legendary conductor and composer, Leonard Bernstein (Bradley Cooper), and his relationship with his wife (Carey Mulligan),
As a huge fan of “A Star is Born,” I have been extremely excited to see Cooper’s sophomore picture since it was announced. And “Maestro” is very much a departure from the gritty tragedy that left us singing “Shallow” for over a year. I can’t say it made as much of an impact as “A Star Is Born,” but Cooper’s “Maestro” did not disappoint.
“Maestro” is a captivating drama crafted with a tremendous amount of passion and care. It is not your standard biopic, focusing more on Bernstein’s complex personal life than accounting each prolific musical milestone of his career.
It is big. It is glossy. It is ambitious. It is a wee bit pretentious. And to some, it may be frustrating, as it doesn’t paint a full portrait of the American icon. I too wish we saw a little more of those big moments. Nonetheless, it remains a fascinating character study that Cooper put his heart and soul into.
Visually, the film is a wonder. The direction soars, with every scene more beautiful than the last. The cinematography masterfully balances the juxtaposition between over the top dramatic and quiet and deliberate.
Each era of Bernstein’s life is captured in a rich and authentic disposition, starting with crisp black and white expanding all the way to a vibrant full screen production.
And this all set my heart aflutter. Some of the sequences made me audibly gasp. It’s that beautiful and demands to be seen on a much larger screen than Netflix provides.
Aside from Cooper’s directorial prowess, it is no surprise that Cooper delivers his strongest performance, completely disappearing into his role as Bernstein, well beyond his controversial nose prosthetic. It’s a magnificent leap for him as a performer, showing he has come such a long way since his early comedic roots. His critically acclaimed six-minute scene in the Ely Cathedral gave me goosebumps.
However, if you really want goosebumps, look no further than Carey Mulligan. To say that Mulligan is a tour de force is an understatement. Radiating off the screen with charm and an unyielding rawness, Mulligan is so beyond impressive. Hands down, she gives one of the best performances of the year. And if you look at both of Cooper’s films, it is clear he is elevating his female counterparts to new heights and pushing them into a magical territory of performing.
So although, many will deem “Maestro” to be “Oscar bait,” consider me caught, hook, line and sinker.
The only thing that would make it complete, would have been a Lydia Tár cameo.
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