Upon watching Bradley Cooper’s Maestro, what struck me was how the narrative felt like two films. In the first half, we see the young Leonard Bernstein in black and white overtaking the scenes with energy and extroversion, as he admits to loving people so much that he finds it difficult to be alone (something that would plague him when it came to composing since composition requires alone time). He even goes to the bathroom with the door open. This tidbit aside, the film is not so much about Leonard as it is about his wife, Felicia Montealegre (Cary Mulligan), whom he meets at a party one night.
The film opens with an aging, chain-smoking Leonard sitting at a piano and speaking to a documentary maker about how much he misses Felicia, who died of breast cancer in 1978. The scene is shot in color and already sets the narrative up for that of a predictable soap opera, rather than a deeper exploration of an artist. And Bradley Cooper, while rendering his performance well, speaks like he is continually congested. Add a lot of makeup and prosthetics and one knows that an Oscar is not far behind. […]