When a new filmmaker emerges with their debut feature, an exciting feeling begins to blossom. The interest that may not have been there prior from studios and audiences begins to elevate. A major question immediately follows the viewing:

“Can they strike lightning in a bottle again?”

After A Star Is Born was released in 2018 to critical acclaim and awards buzz, the world was captivated by the eye Bradley Cooper presented behind the camera. Now, Cooper is following his hit debut with a loose biopic of world-renowned conductor-composer Leonard Bernstein —an even bigger leap than his previous outing.

Co-starring Carey Mulligan as Felicia Montealegre, Bernstein’s actress wife, Maestro beautifully rides the fine line of not only honoring the titular maestro but also celebrating the marriage between Bernstein and Montealegre. Cooper chooses to bring his own approach to the story and delivers a film that is near the same level as his directorial debut. 

Maestro isn’t concerned much with Bernstein’s achievements in the world of music. Cooper, who co-wrote the script with Josh Singer, chooses to place its key focus on the marriage of our two leads. We have seen many biographical features step away from the cradle-to-grave stories and instead center on certain moments of said subject matter’s life. A recent example is Pablo Larraín’s Spencer (2021), which told the story of Princess Diana contemplating leaving the British royal family over the Christmas holiday. This is an admirable choice on Cooper’s part, which may leave audiences disappointed. In the hands of a different filmmaker, this film could’ve been executed a lot poorer; that isn’t the case with Maestro.

As much of a showcase Maestro is for Cooper as a filmmaker, the same could be said for him as an actor, as well as his co-star Mulligan. The physicality both bring throughout the film is extraordinary, with neither ever outshining the other in the sequences they share together. Even with a  plethora of intense sequences, there is a hint of subtlety found in each character. Cooper and Mulligan have brought many wonderful performances to the screen, and  Maestro is being hailed as a possible career-best-works for both. We question why Montealegre stands by her husband amid his frequent affairs, yet, thanks to Mulligan’s heartbreaking turn as Montealegre, we are left engrossed in witnessing their complex yet beautiful love story.

One of the many elements of Maestro that people will sing their praises for is the filmmaking itself. Reuniting with Matthew Libatique, the imagery is some of the most stunning ones we will witness for years to come. The film kicks off in breathtaking black-and-white before seamlessly transitioning to color in The Wizard of Oz (1939) fashion, adding to the old-school feeling Cooper chooses to convey. 

The sound design is also on a whole other level, particularly with the sequences involving Bernstein conducting his heart out. You will not feel the same after witnessing his Ely Cathedral performance of Mahler’s “Resurrection” Symphony. For a film clocking in at 129 minutes, not an ounce of fat is to be found, thanks to Michelle Tesoro’s swift pacing.

There is a lot to celebrate with Maestro, thanks to the wonderful work from Cooper, Mulligan, and the entire crew. Sure to be a bona fide hit for Netflix this awards season, audiences will have their heartstrings tugged and run low on tissues. Maestro is a captivating, decades-spanning romantic biopic that celebrates one of the all-time great musicians as well as his wife. While not quite being on the level of his directorial debut, Cooper hits the right note with his sophomore outing. 

Review Courtesy of Bryan Sudfield

Feature Image Credit to Netflix via Variety