Each year, a handful of movies are made in a way that is less interested in audience consumption or interest and more in earning awards. The term for this is “Oscar bait.” The 2023-released movie most associated with this term is Bradley Cooper’s (A Star Is Born) sophomore directorial effort, Maestro. It will earn a few Oscars. Cooper might even earn one for Best Director. He’s likelier to earn one for Best Lead Actor for portraying the title character, Leonard Bernstein.

The film begins with the inscription, “A work of art does not answer questions; it provokes them, and its essential meaning is in the tension between the contradictory answers.” We then transition to the writer of the quotation, a somber, elderly Bernstein (Cooper – American Hustle, Silver Linings Playbook) reflecting on his life. His eyes almost look lost, either through loss experiencing a past loss or from having a sense of loneliness or isolation. He talks about how his wife, Felicia, impacted his life. It does not go unnoticed that he is alone during this extended shot.

We then flashback to 1943, just as the 25-year-old Bernstein’s career took off. He catches his big break when the conductor he understudies falls ill, allowing him the opportunity to conduct the New York Philharmonic at Carnegie Hall. We get a firsthand look at the passionate leader as he masterfully directs and seizes command of the talented musicians. Though seeing Cooper conduct as Bernstein would, this is hardly earth-shattering. If there’s one thing a person knows about Bernstein, he’s one of the most famous and talented conductors of all time. In addition to bearing witness to his conducting expertise, we also get an inside look at Leonard as one of the most influential American composers of all time.

At the time, Leonard is in a romantic, sexual relationship with clarinetist David Oppenheim. Soon after, he meets and begins a relationship with aspiring actress Felicia Montealegre (Carey Mulligan – Promising Young Woman, Drive), with whom he marries and has three children. Leonard and Felicia often work more as companions than married partners. They support each other throughout their careers. We certainly see love between the pair, but it isn’t necessarily romantic. Leonard has a carefree lust for life, whereas Felicia is more consistent and level-headed. While he loves his family, his career and zest for life take precedence over being a family man. At least, this is the case for the first part of his career.

Leonard and Felicia and lush life by the mid-1950s. Leonard has successfully composed transcending operas and musicals, such as On the Town,  Candide, Peter Pan, and West Side Story. The early formations of the paparazzi constantly photograph the couple. Leonard’s same-sex attraction tendencies are constantly lingering over his head, almost serving as a vice for Felicia to control her husband. Adding fuel to the fire of the couple’s disintegrating marriage are Leonard’s flirtations with me, alcohol and drug use, and alleged affairs.

Leonard and Felicia eventually divorce and, in doing so, become softer in their relationship with each other. Cooper and Mulligan are masterful as spouses raging against each other during turbulent times one minute and then supporting each other in ways that broken couples rarely do during others. With each of these extremes, Cooper and Mulligan make this all believable. They are experts at their craft, and Maestro offers top three career performances for each.

Maestro’s meticulous approach and methodic pacing are thrown out the window at the end. I won’t say too much about the ending other than to say that we have this almost deliberately systematic movie up until the last 5-10 minutes, but then we get a chaotic and rushed conclusion. It almost feels like we are ready to enter a final act that brings a certain amount of energy that we hadn’t experienced until that point, only for the movie to cut to its ending.

Cooper pours everything he has into Bernstein, capturing his tenacity, nuances, steadfastness, compassion, and love. As talented as he was a conductor, he was often even more in command and, at the same time, reckless, without a baton in hand. Mulligan, as the undeterred Felicia, deserves equal praise. The dynamic duo brought out the best in each other. Each is deserving of the acting Oscar nominations they likely will receive. This may be the best acting pairing of the entire year.

Maestro isn’t for everyone. Many will find it dull. Others will find it directionless. Still, others won’t feel like it’s telling us anything groundbreaking, perhaps even wondering why, of all the interesting historical figures, Leonard Bernstein received a biopic with Hollywood heavyweights like Cooper and Mulligan. To those, yes, the movie didn’t quite live up to its hype. It’s still a well-made movie with terrific performances.

Plot 7.5/10
Character Development 8.5/10
Character Chemistry 8/10
Acting 9.5/10
Screenplay 7/10
Directing  7.5/10
Cinematography 9/10
Sound 8.25/10
Hook and Reel 7/10
Universal Relevance 7/10
79%

C

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