★★★★½ out of 5 -- Rated: R -- Run time: 2 hours, 9 minutes -- Available on Netflix & in limited theaters
It was a story that Martin Scorsese wanted to make into a movie but he got tied up on another project. Then Steven Spielberg was interested, but his schedule was too full, so he offered it to a popular actor who was making his directorial debut in spectacular fashion with a remake of “A Star Is Born.”
That’s how Bradley Cooper came to direct, star and co-write “Maestro,” the story of acclaimed composer/conductor/pianist Leonard Bernstein -- whose Tony, Emmy, and Grammy award-winning credits include “West Side Story,” “Candide,” “On the Waterfront” and more.
Now, “Maestro” has quickly become a top contender in this year’s movie award season.
The film impresses right out of the gate, as we see an aging Bernstein in the 1980s, playing the piano for a documentary film crew. The camera goes to a close-up of the composer’s face, revealing the incredible physical transformation of Cooper into the composer. It’s an amazing make-up job aided by seamless prosthetics.
The script by Cooper and screenwriter Josh Singer (“Spotlight” and “First Man”) then goes back in time to the 1940s, re-creating the life-changing moment when the then-assistant conductor of the New York Philharmonic gets the call that the lead conductor is sick and Bernstein must fill in for him at that evening’s performance at Carnegie Hall. Cooper captures that moment with a flowing camera that shows the ecstatic Bernstein running out of his apartment, down hallways and into Carnegie Hall -- where he will impress a packed house, putting his career into high gear.
These early flashbacks are shot very effectively in black and white, using the old 4x3 format instead of widescreen. The 1940s feel is driven home even further with a period-sounding, sweeping music score.
It’s established very early on that the incredibly charismatic Bernstein is gay and enjoys the company of various talented young men. He’s the chain-smoking, life-of-the-party who exclaims, “I love people!” His dialogue is smart, snappy and VERY quick. If you’re watching this movie at home on Netflix, I suggest turning on the closed-captioning, otherwise, you’ll miss a lot of the conversations.
Despite the composer’s sexual orientation, he becomes intrigued when he meets actress Felicia Montealegre, who is exceptionally well-played by the brilliant Carey Mulligan (“Promising Young Woman”). There’s an undeniable connection between the two, and Montealegre convinces Bernstein that marriage between them makes sense. “I know exactly who you are,” she says. “Let’s give it a whirl.” What could go wrong?
As the story moves forward into the 1960s, 70s and 80s, the style of the film changes to reflect each era. It’s goodbye to black and white, and hello to bright colors and mod fashions. There’s also a growing sexual liberation that provides many temptations for the composer, much to the dismay of his wife.
Cooper cast several stand-out actors in supporting roles, including Matt Bomer (“Magic Mike” and “White Collar”) as one of Bernstein’s significant boyfriends, as well as comic Sarah Silverman, who gives a wonderful performance as the conductor’s sister. Also noteworthy: Maya Hawke (daughter of Uma Thurman and Ethan Hawke) as Bernstein’s concerned oldest daughter.
The movie features many memorable scenes, but none more so than when Bernstein conducts an orchestra inside England’s Ely Cathedral. This was a legendary concert that the filmmakers re-staged with Cooper delivering a stunningly impassioned performance directing the musicians. It’s a highly emotional scene and one that should certainly help this excellent movie’s Oscar chances.
“Maestro” proves that Bradley Cooper is a filmmaker to be reckoned with. And although the subject matter may not be as commercial as “A Star Is Born,” this is an exceptional film.