Cinematography: 9/10
Costumes: 8/10
Sets: 7.5/10
Acting: 9/10
Special Effects: n/a
Character development: 9/10
How can a flop be so compelling and beautiful?
“Maestro,” directed by Bradley Cooper, tells the story of what makes the conductor Leonard Bernstein tick, as an artist and as a man: his quick rise to fame, his prodigious talents, and his place as an icon in American culture, bridging classical and popular worlds. The film centers around Bernstein’s inner complexities and his relationships with his wife, children and gay lovers. At the heart of this film is both a joyous and tormented portrait of the artist and a portrait of a marriage.
Starring Bradley Cooper (Leonard Bernstein) and Carey Mulligan (Felicia Montealegre), “Maestro” is nominated for 7 Oscars: Best Picture, Best Actor (Bradley Cooper), Best Actress (Carey Mulligan), Best Original Screenplay, Best Cinematography, Best Makeup and Hairstyling and Best Sound. However, compared to other films nominated for Oscar Best Picture, “Maestro” was a box office flop, only making $458,000. In addition, the film did not chart at all on Netflix’s weekly top 10 Global rankings, and Rotten Tomatoes rated the film an 80%.
“Maestro” does not follow a linear storyline, but jumps between time periods. There are scenes in black and white, which symbolize Berstein’s past and the quintessence of old Hollywood. In contrast, the scenes that are filmed in color illustrate the dynamic and changing relationship between Berstein and his wife.
Similar to “Past Lives,” another Best Picture Nominee, “Maestro” captivates its audience through expert cinematography and filming techniques. These are the film’s best attributes, as they help to tell a dynamic and thought-provoking story.
One way these aspects are shown is through specific camera shots and angles. For example, when Bernstein is watching a musical he composed on opening night, the camera does an up-close pan of him rubbing his hands together, a subtle yet effective way to display his nerves and anticipation. In that same pan, the camera shows Felicia’s face, as she appears upset and frustrated. At this point, it is unclear to the audience why she looks this way until we see her eyes dart down near Bernstein’s hand. There, the camera turns slowly to reveal Bernstein’s hand interlocked with that of a young man next to him. Though there is no dialogue in this brief interaction between characters, the subtext and camera angles help to exemplify what the characters are feeling and how they are physically and emotionally reacting.
Another technique used to enhance the film is color and lighting. When Bernstein and Felicia are fighting, they are shown in contrasting colors – Felicia in blue and Bernstein in red. In addition, in scenes with color, sometimes the hue is red and orange, symbolizing an atmosphere of nostalgia. In contrast, when the hue is blue it provides a colder effect, symbolizing melancholy and isolation.
One aspect of “Maestro” that I did not particularly enjoy was the slow plot, which lacked a dynamic element. That is why I enjoyed the scenes when he was conducting or when he and Montealegre danced the most.
Despite this, the screenplay was intentional and beautifully written; this film was not meant to be told quickly. For example, after Montealegre is diagnosed with breast cancer, Bernstein and Montealegre sit in silence, backs facing away from each other on the grass, smoking cigarettes. As they play a number guessing game, this scene not only shows the intentional and beautiful cinematography, but also demonstrates the quiet, yet somber subtext of a fairly simple game that two (older) adults are enjoying.
I don’t think “Maestro” is going to win Best Picture. Sometimes, a film simply needs that intangible “it factor” to put it over the top and win, which is something Maestro lacks. However, I think Bradley Cooper has a good shot at winning Best Male Actor, because much like Austin Butler in “Elvis,” his attention to detail and striking resemblance to the character makes the audience truly believe that the person on the screen is Leonard Bernstein.
In addition, I believe that the film has a high chance of winning Best Sound. The film’s incredible soundtrack featured pieces from many of Bernstein’s most famous musicals and operettas, including “West Side Story” and “Candide,” as well as several of his best choral and symphonic works, such as “Chichester Psalms” and his Symphonies Nos. 2 and 3. Bernstein’s music, I believe, is dynamic, lush and beautiful. In addition to Bernstein’s own music, the movie contains many wonderful scenes of Bernstein conducting pieces by some of his favorite composers, such as Gustav Mahler and Robert Schumann. Two of the movie’s best moments are the black-and-white scene of Bernstein stepping in to conduct Schumann’s “Manfred” Overture at Carnegie Hall, and the impressive recreation of Bernstein’s iconic performance of Mahler’s “Resurrection” Symphony at the Ely Cathedral. These excellent selections, handpicked by Cooper, were performed by the London Symphony Orchestra and conductor Yannick Nèzet-Sèguin — who served as Cooper’s conducting coach — and perfectly captured the progression of Bernstein’s life and career, both as a composer and conductor. The multiple dimensions of the soundtrack elevate the film and bring it to another level.
If you are a fan of beautiful cinematography, immersive storytelling and clever use of sound, this is the film for you. “Maestro” creates a captivating and emotionally resonating experience for the audience.
