Maestro

I was very excited when I heard Maestro was coming out. With all this filmmaking firepower, it would have to be worthy of its subject. Now I've seen the movie and am stunned by the wasted talent and energy expended for what turned into another movie about rich, talented people who appear to have it all, but get sad and emotional just like the rest of us. They just talk about it a LOT more.

The film is beautifully photographed, but I have no idea what the format change and the black and white to color change accomplished. The acting was good, but rather than being shown that the characters are going through something emotional, we are told, All these immensely talented people seem to talk about is their feelings, not their motivations, plans and aspirations.

Leonard Bernstein wrote and conducted some of the most memorable music of the 20th century. He singlehandedly (with help from Bugs Bunny) kept interest in classical music alive when jazz and rock were kings. But we learn nothing of this in this film. Bernstein's talents and accomplishments are presented as facts, without exploration. What a waste.

The acting is superb and particularly Carey Mulligan who is astonishing, as usual, and Bradley Cooper's transformation is incredible. The look and feel throughout is very polished. But, and this isn't a minor quibble -- I found it really hard to understand the dialogue! Characters speak so quickly, in a mumble, that I actually considered putting on subtitles. Anyway, it wouldn't have made a difference, I thought the movie was so empty and plotless and uninteresting. There was really no tension in the wife's dealing with her husband's bisexuality, no real exploration or understanding of Bernstein's conflicts, and no delving into his achievements or their context, so there wasn't much left!

A struggling musician agonized by his own genius, talents, and creativity and trapped in loveless marriage filled with guilt. Both look the other way while one has an affair and realize the importance of one's own partner too late. Right now, at the top of my head I can think of 'Fosse/Verdon', 'A Star Is Born', 'George & Tammy', 'Walk the Line', 'Dreamgirls', 'Daisy Jones & The Six', and etc. (Wow, that's a lot.) Biographical genre is especially tricky because it has to excel the life of actual historical figures. 'Maestro' could have been so much better if it delved into the introspective and artistic side of Bernstein deeper or provided a different and fresh point of view on his life rather than reciting his personal life. His autobiography or research would be more fun and interesting than this explanatory movie.

There were a few futile attempts to make the movie look more artistic, abstract, and ambiguous. They failed because they serve no purpose but to look pretentious. White and black, camera movement, the use of light and shadows, and musical aspects. They are all good attempts, but for what? By doing so, is the story getting stronger? Do they enhance what viewers feel? Waste of time and films.

Bradley Cooper's performance is disappointing. He never acts; he imitates. When he's on the screen, we know clearly that he's acting. It's hard to be absorbed and immersed into the screen because he always pushes the audience away with his trying too hard. I get that he wants to emulate Bernstein's twangy voice. However, emotions and messages he delivers are more important than his likeness of Bernstein's tone, accent, sound, or mannerism. He focuses on what's outside of Bernstein rather than what would be inside of him. There is a 10 minute sequence of Cooper conducting, and it's screaming 'Look how good I am!!!'. It's one of the highest points for emotions to burst out for the audience, and I started to laugh.

Maestro (2023) seems a very flimsy "biography" of Leonard Bernstein. We learn just about nothing of his life. Music. Wife. Boys on the side. Other than that?

The film stars Bradley Cooper and a fake nose. He (Cooper, not the nose) also co-wrote, directed, and produced and is being hailed for his work and artistic ambition. Coincidentally, I'm reading Barbra Streisand's new 970-page memoir and in her section on Yentl, she recalls the reviews that lambasted her colossal ego to star in a film she also co-wrote, directed, and produced.

Anyway, I found Cooper's performance to be hysterically hammy (yes, I know Bernstein was flamboyant) and Mulligan's wife just plain annoying. Such self-centered people who were always "on." They were exhausting to watch ... but that's the whole film. There's no background material, Just them swanning about like characters out of Auntie Mame screaming "I was never in the chorus!"

This will likely reap a slew of Oscar nominations and Cooper will probably beat of DiCaprio and Cillian Murphy for best actor. Wry. Hold the ham!

I went to Maestro expecting a film that would chronicle the life of one of America's, if not the world's, great composer/conductors. I've seen Leonard Bernstein many, many times, starting at age 8 when my grandfather took me to Bernstein's music for kids on Saturday mornings at Lincoln Center. I had no idea who he was at the time, only that people called him Lenny. My grandpa took me to meet him and he was spellbinding. I remember him looking right threw me with his expressive eyes.

He loved kids and loved to teach them about music. Turns out grandpa and Lenny went to Harvard together, hence I got a personal introduction. Bernstein is the guy that got me hooked on classical music and music in general, but I didn't learn anything about his musical career, his childhood, his years at Harvard, his work in Europe, who inspired him, etc.

The making of West Side Story is really interesting (if you know the story) but nothing about it in this film and I mean "nothing.; We get a tiny glimpse of Candide, but nothing about its composition or insight into the Maestro's process. We get zero insight into his Missa Brevis, perhaps on the highlights of his career.

Bradley Cooper blew me away. I've seen Lenny up close many times and I've talked to him a few times. Cooper nailed it, and the scene at St John of the Divine is probably one of the greatest musical scenes ever captured on film. Cooper's conducting is simply amazing. He worked very very hard to capture the speech, mannerisms, and the Bernstein attitude and texture toward music. I cannot speak highly enough of Cooper's performance, but we get so little insight into the musician, and that was so disappointing.

Carey Mulligan? Her performance is nothing less than spectacular, in fact all the acting is extraordinary, but it's not a story. The Bernstein children really have nothing to do in this film, and I have no idea why Lenny's sister was included as she has very little to say or do. Overall, a very perplexing film ... not sure what he was going for. In fact, I kept waiting for it to start. The emphasis was all on style, and believe me, it's beautiful to look at.