Maestro (2023)

​“Maestro” stars Carey Mulligan, Bradley Cooper, Matt Bomer, Maya Hawke, and Sarah Silverman. Released in limited theaters on November 22, 2023, followed by a Netflix release on December 20, 2023, the film chronicles the life and career of composer Leonard Bernstein.

The film was directed by Bradley Cooper, known for directing the 2018 remake of “A Star Is Born” and producing films like “American Sniper” and “War Dogs”. We have a lot of things to look forward to this year, including movies. Of course, one of them is the tail end of the awards season, where the nominated films and stars go head-to-head to win the trophies that none of us cared about recently. Well, except me, of course, as I watch the award ceremonies to show my support for the nominees. However, that doesn’t mean I can’t get caught up on the other 2023 nominees I missed out on. That includes the latest feature film from actor/director Bradley Cooper that just came out on Netflix last month and was nominated for four Golden Globe awards. Does this movie strike a harmonious chord in the cinematic biopic genre? Let’s find out.  

The story centers on Leonard Bernstein (Cooper), a young man working as an assistant conductor in New York City. He experienced his first sign of fame when he made his conducting debut a rousing success. As Leonard raptures in his newfound fame and explores his homosexuality, he eventually meets and weds an aspiring actress named Felicia Montealegre (Mulligan). Afterward, their relationship experiences several obstacles while Leonard continues to climb his way toward music glory.

I’ve been on and off about watching “Maestro” since it appeared on Netflix. I was waiting to see if my mother wanted to see it, but we couldn’t find the right time to sit down together. The same could be said for me as I was busy accomplishing my new year goal, which is going well if you’re wondering. After days of speculating, I decided to take the day off from other things and watch this depiction of the famed conductor before the upcoming Critics’ Choice Awards. Did I make the right choice regarding my quest to watch as many award contenders as possible? Of course, I did. It’s far from the greatest thing since Bernstein’s remarkable debut in 1943, but it does serve as another suitable and well-acted representation of Cooper’s talents as an actor and filmmaker.

“Maestro” depicts the life of Leonard Bernstein inside and outside his career as a famous conductor. You know, like the many other biopics we’ve seen before. However, the story is mainly about his relationship with Felicia Montealegre, who gains success through her acting business. The best way for me to describe “Maestro” is that it resembles life as music. It’s full of emotions that drive the people living and breathing in it, whether they’re listening to it, playing it, or, in this case, conducting it. The relationship between Leonard and Felicia has its happy moments, but it also isn’t without moments of sadness and anger, mainly the former for its poignant third act. It’s a complex yet endearing and heartbreaking reflection of the ups and downs of marriage and the strength these people carry to overcome their secrets. Of course, those include Leonard’s homosexuality.

Regarding the screenplay by Bradley Cooper and Josh Singer, the film doesn’t quite reach the high standards of its emotional themes and storytelling, especially when it barely scratches the surface of most of Bernstein’s life. Then again, the film would’ve been way longer than it should when you consider its slow pacing. Thankfully, the sour notes from its solid story and pacing were easily overpowered by most of its melodic ones. One note worth mentioning is the cast, especially the main leads. Bradley Cooper delivered another marvelous performance that should emphasize his acting career. He completely disappeared into the role of Leonard Bernstein with his authenticity and sheer charisma, especially when he highlights the complexity of his choices. Carey Mulligan was also fantastic as the emotionally compelling Felicia, with the scene involving her and Leonard during the Thanksgiving Parade being one of the best parts of her performance.  

With these two talented actors on display, they create a chemistry that’s as harmonious and sublime as an orchestra due to Cooper’s direction. What I loved about Cooper’s iteration of “A Star Is Born” is how he made the musical elements and the characters go hand-in-hand in perfect harmony. He understood that the characters' relationship and chemistry are as critical as the symphony driving them. If the characters are humane enough regarding the actors playing them and the script, you have a compelling musical composition that’s pleasant to the ears. Cooper provided a similar tactic for “Maestro”. While it didn’t match what his directorial debut offered emotionally, it still delivered sweet music for my eyes and ears to endure, even with its pacing. Additionally, Cooper developed a well-crafted vision that fits the aesthetic and visual style of Bernstein’s life, which benefitted from Matthew Libatique’s cinematography and the film's production design. It also had some impressive editing moments that made the transitions and presentation look seamless and upbeat, especially for the 1940s sequences.

But, of course, the actors aren’t the only reason the characters look and feel authentic. Another reason is the outstanding hair and makeup design that brought these people to life. The person responsible for these designs is Kazu Hiro, who recently won an Oscar for “Darkest Hour” and “Bombshell”. Based on what I’ve seen, I think his work in “Maestro” could earn him his third award because of his passion for transforming recognizable actors into the characters they’re playing. That includes Cooper, who’s almost unrecognizable as Bernstein thanks to the prosthetics they used. Speaking of which, I would like to point out that the “Jewface” criticism was unnecessary.

Overall, “Maestro” is a well-crafted symphony that has more tuneful notes than the less-than-harmonious ones. Regarding the narrative, 2018’s “A Star Is Born” left more of an impact on me than Cooper’s sophomore debut. Fortunately, it has enough melodic beats in the music, cast, and presentation to provide a solid performance worthy of Cooper’s conductive filmmaking skills. If you like Cooper and have a Netflix account, the film is worth a watch, but be prepared for the emotional moments amid its orchestral sequences.

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