Maestro: Venice Film Review
I really wanted to come away from the Venice Film Festival having seen a five-star movie that would become the big ticket item during awards season. I thought Bradley Cooper‘s latest directorial effort, Maestro, might fit the bill but that wasn’t the case.
This biographical drama, directed, co-written, produced and starring Cooper, tells the story of legendary American composer-conductor Leonard Bernstein, who is best known for composing the music for West Side Story. The film largely focuses on his marriage to Costa Rican-Chilean actress Felicia Montealegre (Carey Mulligan).
A lot has been said about Cooper’s large prosthetic nose in this movie, with some likening his look to ‘Jewface’. I feared the controversial addition would be distracting but it’s really not. I got used to it in no time at all. Make-up artist Kazu Hiro‘s prosthetic work is phenomenal, particularly during Bernstein’s later years, and Cooper is almost unrecognisable at times. The make-up obviously helps, but he inhabits the role so completely – he becomes Bernstein. His voice is completely different and he nails Bernstein’s gregarious personality and specific conducting style.
While this should be the star vehicle for Cooper, he is outshone by Mulligan. She should not have been cast as a Costa Rican-Chilean character, but despite that, she is extraordinary in Maestro and I would like her to be nominated for an Oscar for her work. Playing the put-upon wife of a musical genius is nothing new but her performance is heartbreaking and made me cry. It is so effortless and restrained, whereas Cooper often went a bit too big and showy. Mulligan never disappoints but she really outdoes herself here.
Unfortunately, the film itself is not as good as its performances. The opening 30 minutes are strong and the final 30 minutes or so really pack an emotional punch, but it needed more oomph in the middle hour. The screenplay (written by Cooper and Josh Singer) is quite weak at times, with some awkward lines of dialogue, and it focuses too much on Bernstein’s marriage and extracurricular activities. While this is interesting, I would have liked more of a showcase of his work. We see him conducting a few times and his greatest hits are mentioned in a clunky news report, but I would have happily seen more. Also, the switch between black-and-white and colour didn’t do much for me.
I really wanted to love Maestro but it didn’t do enough to win me over. However, Cooper and Mulligan’s performances still make it worth a watch.
Seen at the Venice Film Festival. In selected cinemas on 22 November and on Netflix from 20 December