3.1.24
Maestro has an excellent performance from Bradley Cooper and a great one from Carey Mulligan but the whole film simply feels like surface-level Oscar Bait.
Hurrying through the life of celebrated American composer Leonard Bernstein, the film shows some of his growth, selected parts of his professional process, and softly approaches his sexual fluidity. As well as feeling quite lighthearted, all the cast apart from Cooper and Mulligan feel underutilised, especially Bernstein’s first male love interest David Oppenheim, played by Matt Bomer, and their daughter Jamie, played adeptly by Maya Hawke. There’s the distinct feeling that the film avoids tackling the thorns of Bernstein’s true, complex self, failing to do justice to the controversial real-life figures we see before us.
Maestro does however shine in moments: the rapturous ovation he receives in his chance opening concert, arguments between Leonard and Felicia that reveal their passions and hangups, and Leonard’s later concerts displaying his masterful command of the orchestra. If only the film could maintain this level of insight and energy throughout. At over 2 hours long, Maestro still feels like it’s barely scratching the surface of a modern icon. It’s interesting but hardly satisfying, offering just an outline sketch of a great but troubled man, rather than a portrait.