Bradley Cooper's careful, sometimes brilliant portrait of a couple, and of Leonard Bernstein. Our Maestro review:
Bradley Cooper has already drawn attention regarding the visual decisions which make up his sophomore directorial effortWhile his prosthetic nose has fueled endless thinkpieces, there is a more meaningful creative decision that the biopic coils around, revealing its outlook with emboldening confidence.
Late in the film, Bernstein passionately conducts an orchestra at the L.A. Cathedral to rousing success. The scene is lengthy, enamored with the conductor’s joyous involvement, before pulling back to show us that it has all been filtered through Felicia’s perspective, returning to her husband after a lengthy separation. Whenrevels in their relationship, playing with the facets of Mulligan and Cooper’s endearing chemistry, it sings.
Cooper’s skill lies in crafting these momentous highs, blocking his actors to expose something novel and true. He positions his cast to deliberately disguise certain responses, spotlighting another’s expression; at a party, anonymous figures close in on an emotional Felicia, cleverly unmooring her. Yet Cooper’s ability to pace the script he and Josh Singer wrote remains frustratingly unrefined, a problem that haunted his take onfocuses on Bernstein’s illustrious career, it feels historically stranded, at sea in a wave of unexplained events that make up the timeline of his professional life. The music follows no obvious chronology, melding together tracks selected to thematically reflect the events at hand.
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