MAESTRO: Two Hits

The movie’s title refers to Leonard Bernstein, America’s first native-born conductor to achieve international fame. He also achieved enormous stature as a composer, his most famous production being “West Side Story,” a contemporary adaptation of Shakespeare’s “Romeo and Juliet” set in New York’s Harlem. “Candide,” Fancy-Free,” and “On the Town” also provide memorable theater experiences.

But a true genius can be a difficult human being to live with, and the personal side of Bernstein’s life is the focus of “Maestro,” which is directed, co-written, and starring Bradley Cooper. Some of Cooper’s filming technique choices may seem odd to audiences; for example, the first third of the movie is filmed in black and white, with color appearing when the film reaches the 1960s. Also, there are many scenes in which Felicia Montealegre (Carrie Mulligan), Bernstein’s wife and a successful actress in her own right, involves most of the audience’s attention.

“Maestro” opens with a morning phone call that awakens twenty-five-year-old Leonard, telling him that Bruno Walter, the New York Philharmonic Orchestra conductor, is ill and asking Leonard to take his place in Carnegie Hall that afternoon with no time for a rehearsal. The exultant Leonard lets out a whoop and joyfully pats the buttocks of the young man in his bed. The unrehearsed performance that day was reviewed by every major newspaper and received glowing critiques. Thus, Bernstein’s career is off to a glorious start.

Gradually, Bernstein became famous not only for his conducting skills but also for his success as a composer. He creates his own unique style by organically bridging pop culture and serious classical music. If Bernstein had setbacks in his career, this movie certainly does not show them, as we, in the audience, see only a progression of successful achievements. The tension in the movie arises from his personal habits.

In that first scene, we see that he is bedding another man. But the time is the 1940s, and homosexuality is seldom openly displayed and frequently remains closeted. Today, we would probably describe Leonard as bisexual. At a party with attractive and sophisticated show-business people in attendance, Leonard is introduced to the beautiful and charming Felicia Montealegre (Carey Mulligan), a Chilean actress appearing as an understudy in a Broadway production. After showing him the theater, the stage, and the backstage where she performs, Felicia turns to him, and the two embrace in a passionate kiss.

Leonard falls in love with Felicia, and they marry. She continues her acting career, but his professional success far overshadows hers. Soon, they are living in a lovely home outside the city and have eventually become the proud parents of three daughters. Did Felicia know Leonard was also interested in men when she married him? The movie does not make this clear. But as the years pass, she does observe him holding other men’s hands and embracing them.

A woman of intelligence and compassion, Felicia finally confronts her husband about his behavior and reminds him that he needs her in his life even more than she needs him. Leonard never doubts the truth of this claim, nor does he doubt his deep love for his wife and their three children. A workable stasis is reached, but tragedy does lie ahead.

Although “Maestro” is not a perfect movie, it is well worth viewing. The acting is superb, especially Mulligan’s, which is very likely to get an Academy Award nomination. It is also worth viewing in a theater with a good sound system that can display the grandeur of Bernstein conducting the London Symphony Orchestra in Mahler’s Resurrection Symphony with choir and soloists performed in Britain’s Ely Cathedral.

• Two Hits: Don’t Miss it!

• A Hit & A Miss: You Might Like It.

• Two Misses: Don’t Bother.