Actors turned directors are not uncommon in Hollywood, but when it’s done right, the praise is warranted. That was the case for Academy Award nominee Bradley Cooper’s directorial debut, A Star is Born. It is a film highly touted as one of the finest debuts from an actor-turned-director in quite some time. With an array of Oscar nominations and a win for Best Original Song, the film was a commercial and critical success. It was only time before Cooper stepped behind the camera again.
The problematic obstacle to a successful debut is how to be different and grow with a follow-up. A case in point is Florian Zeller, whose debut film, The Father, was one of the better films of 2020, while his follow-up, The Son, is one of the worst and most insulting pieces of cinema I’ve ever witnessed. That being said, I was enticed by Cooper’s follow-up Maestro, as he tackles one of the most influential artists of our generation, Leonard Bernstein.
Cooper did not suffer from a sophomore slump. Bradley Cooper’s Maestro is a harmonious, majestic, and tender symphony that beautifully captures an icon’s legacy and the romance that enraptured his life.
Maestro follows stages in the life of Leonard Bernstein. From his debut at Carnegie Hall to meeting Felicia Montealegre Cohn, who ultimately became Mrs. Bernstein, to the magnetic nature of his older years, like Bernstein himself, the film is conducted uniquely and interestingly.
Unlike the traditional “rags to riches” biopic, Cooper and co-writer Josh Singer weave through Bernstein’s life a melancholic melody that never settles for the mundane. Rather than focusing entirely on Bernstein, the screenplay shines a light on the most important person in his life – Felicia.
Through Felicia, we see an unmatched understanding and playfulness from Lenny. Because of this dedication, Singer and Cooper’s script shines a light on the love story, not just the man. Despite the energetic nature of the film’s first two acts disappearing in the third, Singer and Cooper deliver a screenplay that stands as one of the most deeply riveting of the year.
Matthew Libatique’s cinematography stands as some of the year’s best. The film soars through his sublime and grand visuals—the transitions from black and white to color never question the film’s energy. Along with Bernstein’s music used throughout, Libatique’s lens is elevated with some of the most stunning shots and transitions 2023 has to offer.
The question can be posed whether this film is “Oscar Bait” for Cooper and Carey Mulligan. While the question may be central to the awards season, Cooper and Mulligan offer two devastatingly intimate and vulnerable performances that stand as two of the best in their careers. The chameleon nature of the duo’s performances aids in the conversation about whether or not both of their Oscar slumps will end. I was utterly amazed by the two!
Maestro solidifies Cooper as one of the best working actors and among the most talented directors today. His direction is a masterclass, and his dedication to Felicia and Lenny and the music is unmatched. Maestro could have been a disaster in the wrong hands, but in Cooper’s, it’s one of the crowning achievements of 2023.
