Bradley Cooper is a bliss to watch as ‘Maestro’
I remember watching the TV series “Alias” 20 years ago and thinking. Jennifer Garner will be a big star but Bradley Cooper will become the leading man’s best friend or the losing side of a love triangle. Happily, my prediction turned out to be wrong and Cooper has become one of today’s hottest actors and directors.
The road to this post-“Alias” success had lemons like “Joy,” blockbuster bread-trips, “Wedding Crashers” and some inklings of greatness in “The Silver Linings Playbook.” No time wasted though, throughout all those, Cooper was growing into a sensitive, dedicated actor, think “American Hustle” and “American Sniper.”
By the time he starred in and made his directorial debut in “A Star is Born” five years ago, Cooper had become the sexiest man alive, the voice of the Rocket Racoon, and a Grammy winning singer-songwriter and music producer.
He was so blessed he was also spared the problem of what to do for his follow-up film. Why, he received an offer from Steven Spielberg to direct and star in “Maestro,” the biopic of Leonard Bernstein.
Bernstein was every bit a lion in music and in life. He was the first great American conductor, one who not only led his orchestra but also felt and reacted to every note. His stints on the podium were legend.
He was a daring, innovative composer, “West Side Story,” “Candide,” “Mass,” “Wonderful Town.” And teacher. His TV series ran for many years and introduced millions of children to classical music.
He was a remarkable man of strong appetites. He loved his family, liked to be around people, had lovers, both male and female, used drugs and chain-smoked all his life.
There was some skepticism when the news came out. Can Cooper hack being Bernstein and presenting Bernstein?
He can. Spielberg probably saw that his take on the combination of music, love story and tortured musician in “A Star is Born” was what was needed to bring “Maestro” to life and he was proven right. “Maestro” turned out to be a career high for Cooper. It is a gleaming, multifaceted gem that is such a bliss to watch.
“Maestro” is the kind of film to get lost in while in the darkness of a movie theater with state-of-the-art sight and sound. But I am thankful that it is now available on Netflix. That way I can be amazed again and again at the wonderful choices that Cooper made as an actor and director. That is what any creative endeavor is about. Choices. And he picked all the right ones.
Well, Cooper did get some flak for putting on a prosthetic nose to look Jewish and to look more like Bernstein. This was so well done though. The fact is Cooper became totally Bernstein in every way. He has so enticed the viewer to believe in his performance that when the picture ended with Bernstein conducting his Chichester Psalms, it was almost impossible to tell if it was Cooper or the real Bernstein on the screen.
Cooper touched on all aspects of Bernstein’s personal and professional life but zeroed in on Bernstein’s relationship with his wife, the actress Felicia Montealegre played with superb grace by the always reliable Carey Mulligan. Wonderful choice.
“Maestro” is a love story about the genuine affection Bernstein and Felicia had for each other. Told with heartfelt delicacy amidst elegant images backed by the sound of Bernstein music, this romance is the most beautiful take away by the audience.
Well, I also came away wanting to check Mahler’s music. That recreation of Bernstein’s Ely Cathedral stint conducting Mahler’s Resurrection Symphony with the London Symphony Orchestra is a tour de force for the actor and director. Cooper just made Mahler interesting.
Also how come we do not see much of Matt Boner? Known for his work in “Magic Mike” and “White Collar,” he is excellent as Bernstein’s lover David Oppenheim. Also on point is Sarah Silverman as Bernstein’s socialite sister.
I loved the use of 35 mm photography masquerading as the small aspect ratio cameras from the ‘50s to start the film. And in black and white, too. It reminded me of my childhood pastime leafing through pages of old issues of Life Magazine mesmerized by the photographs.
And did you know that Cooper can dance? He does here and in choreography by Jerome Robbins, Bernstein’s friend and collaborator in “West Side Story” and other projects. He can sing. He can dance. Maybe Cooper should start thinking of a Gene Kelly biopic shot like an old MGM musical. Now that would be really something.