By Carole Di Tosti . . .
Jamie Bernstein, daughter of Leonard Bernstein, who appeared at the Q&A after the press screening at Lincoln Center, highlighted a key point about the making of Maestro. The project began approximately 15 years ago as a documentary about Leonard Bernstein. When Bradley Cooper came on board, everything changed. Assuredly, the change was for the better, because the film Maestro, currently screening at the 61st New York Film Festival in the Spotlight category, is a masterpiece on many levels.
Working closely with the Bernstein family, after extensively researching the life of Leonard Bernstein, Bradley Cooper wrote the screenplay with Josh Singer, who attests that Cooper’s research was more thorough than his own. Cooper was dedicated to manifesting an authentic portrayal of the music legend’s emotional life and career.
Starring as Bernstein, also directing and producing the film, Cooper shepherded his crew carefully. He remained in close touch with the Bernstein family. Together they took the journey of bringing Leonard Bernstein, the man and his music (which we hear throughout the film), to life. Cooper made sure to upload clips and photographs of various scenes he and the crew were working on to keep the family engaged.
Together, the filmmaking team created a tour de force. Clearly, Maestro moves beyond the typical “biopic.” It’s an extraordinary rendering of a genius who was knowable yet unknowable, and whose artistic brilliance and musicianship was a gift to the world.
As an integral part of Bernstein’s life and work, Cooper focuses on his relationship with his wife, actress Felicia Montealegre (the extraordinary Carey Mulligan). She helped to encourage and inspire his evolving greatness as a composer, teacher, conductor, and father. From the time that Cooper’s Bernstein meets Mulligan’s Montealegre at Claude Arrau’s party in 1946, up until her death after her terrible battle with cancer in 1978, we are fascinated at how this dazzling couple fueled each other and sustained their marriage and careers, though she gave hers up for a time.
Cooper’s revelations about Bernstein include his sexual relationships before and after his marriage, which Montealegre guided him around, especially when rumors his children heard upset them. With attention to authenticity, Cooper reveals the obstacles in the marriage, and even Bernstein’s depression about negotiating his gay lifestyle, which was frowned upon. Thus, only his friends knew about his sexuality, though at times his displays of affection gave cause for rumor.
Importantly, the film reveals Berstein’s love and passion for life, for Felicia and his children and for his friends. All this is pitted against the backdrop of his creative genius, which, like his enthusiasm for life, couldn’t be guided in one direction. For example, Bernstein moved from classical to composing for Broadway musicals, which some thought stultifying. He taught, appeared on television and extensively conducted. The film reveals Bernstein’s mercurial, loving nature. He wanted to embrace all of what he decided upon musically with verve and joie de vivre without limitations.
Cooper selects key turning points which characterize Bernstein’s intense emotions. The film begins with a TV crew filming him while he plays the piano at home. When Bernstein finishes playing his composition with the usual cigarette and ashtray at hand, he reminisces about missing Felicia, who’d passed. Then the film segues into a flashback of their life together in black and white, starting with their early years.
In his portrayal of this amazing couple, Cooper’s acute direction is apparent. Carey Mulligan’s performance as the talented Chilean actress is specific and glorious. Her authenticity reveals subtle and nuanced transformations in each scene. Felicia is understanding. However, her sadness and frustration about his affairs upset Bernstein. He tries to correct . . . until the next affair occurs, and she again expresses anger and hurt, which triggers his remorse. Eventually, both agree that he will remain as he is. She must learn to adjust.
Cooper’s revelation of Bernstein’s physical likeness and aging is spot on. The same striving for authenticity occurs with Felicia’s physical changes. When Mulligan channels Felicia’s illness, it is frightening and palpable.
In learning how to conduct as Bernstein, Cooper pulls out all stops. With enthusiasm he mirrors Bernstein’s physical gestures, his carriage, his expressions. His profile and mien are Bernstein’s. This is especially so when Bernstein teaches and conducts.
A seminal moment occurs before Felicia becomes ill. After a separation, she shows up to support him as he conducts the symphony orchestra and the choir. We understand that she is his muse. This is the most striking aspect of their marriage. That is why both of them make sacrifices to remain in the loving bond they share.
In an interesting side note that reveals Cooper’s near obsession with getting it right, conducting consultant Yannick Nézet-Séguin, who worked closely with Cooper, made an observation about the cathedral scene in the Q&A: “What you see is Bradley Cooper conducting the London Symphony Orchestra Chorus and Choir.” The emotional state and expressed joy and freedom are Cooper/Bernstein. This and other musical moments uplift with truth. We realize that Bernstein’s triumphs wouldn’t have been as exceptional without Felicia’s love and support.
Maestro opens November 22. For tickets to the North American premiere, go to the Box Office at Alice Tully Hall or their website at https://www.filmlinc.org/nyff2023/
Photos: Carole Di Tosti (except where otherwise indicated)
Cover photo credit: Maestro. (L to R) Carey Mulligan as Felicia Montealegre and Bradley Cooper as Leonard Bernstein (Director/Writer) in Maestro. Cr. Jason McDonald/Netflix © 2023.
