Maestro: A Love Letter to Lenny

I just finished watching Bradley Cooper's film on Leonard Bernstein. It was not at all what I was expecting, and, in fact, I went in with a lot of hesitation. For one thing I was not expecting a love story, and I'm one who fairly loathes and avoids love stories, generally. Even more unexpectedly, Maestro, went straight to my heart. Having not particularly cared for most of Mr. Cooper's roles or films, I've always felt there was a great actor often miscast in mediocre movies and crude comedies. Every once in a while, however, a role came through that confirmed for me something great was coming.  This was that something.  Cooper's style of filmmaking - at least for this motion picture - is pure, old-fashioned Hollywood. So much so in fact, the entire first half, shot in vivid black and white, with its period costumes, decor and sense of style, made had the feel and look like a classic film. So, seeing him co-write, direct and act in a project with this much care, attention to detail and understanding of the medium was . . . well, rather beautiful.

The transition from black and white to color was almost imperceptible . . . it just happened, no segue, no waking up in Oz, but nonetheless there was a clear delineation which divided the two distinct halves of the film.  

I've heard much made about the falseness of Lenny and Felicia's relationship, the sham marriage, and more. This I find to be nonsense, entirely missing the point of how despite the complexities, the difficulties (and not only sexually) that two people can love each other this deeply, this profoundly.  The chemistry between Cooper and Carrie Mulligan was, at least to these tired old eyes, pure magic. The courtship had me smiling, imagining them both that young, with all manner of hopes and dreams for their respective careers, but really not a clue how all of this would play out in real time and on the world stage. 

There are accusations of the film not going gay enough, which I also find rather a bit of nonsense. One needn't look too far back to see a far different reality for gay life than we are witness to today. And again, the film was essentially about the Bernstein marriage more than it was anything else, including his career, for which we already have recordings, films, and countless books, articles, and essays which, more adquately address that aspect of his life and career than is possible in a theatrically released movie.  My Bernstein Bible will always be the Harvard lecture series The Unanswered Question - over thirteen hours of Lenny sharing with us, probing beneath the surface of nearly every aspect of the why, how, when and more of music.  

Ms. Mulligan gives, hands down, perhaps the finest, most bravura performance of an actress I've seen on-screen this year. I can't think of a performance I've loved as much. Mulligan's Felicia is presented as a beautiful, charming, and gifted, strong willed woman whose smile, voice and style would captivate anyone. Regardless of his sexuality, it was easy to see why Lenny fell for her.  Similarly, regardless of knowing his sexuality, one could just as easily see why she fell for him.  

This is not a movie about Bernstein as a conductor, or composer, or classical superstar - although all of those elements are wed into the story (how could they not be). We don't witness his triumphs in Vienna, Rome, Israel, Munich, Paris or London, but instead the story about the marriage of Lenny and Felicia. Indeed, nearly every scene in the film revolves around their lives, their decisions, their love story, thorns and all.

If the first half felt like a sweet romantic comedy involving two larger-than-life figures, the second, which developed the ongoing difficulties, Felicia's illness, Lenny's insecurities working their way into everything, and even poisoning some things, I often felt as though I was a voyeur, intruding on moments too private and not meant for my eyes.  Of course great art can do that to us . .. it's part of its job. 

The large supporting cast feels handpicked and appropriate to the era, especially Sarah Silverman as Lenny's sister, Shirley.

While Bernstein's music is ever present as (most of) the soundtrack, the music, for the most part, takes a back seat to the story of Lenny and Felicia. But, when the music does drop in, it is in moments that can sweep us away. The dance rehearsal of On The Town, when, through the magic of film, Lenny transforms from smiling observer alongside Felicia, to a sailor showboating for his lady love is absolutely magical.  In a different vein, the Ely Cathedral Mahler 2nd - Resurrection - ends in a triumph that segues us into the most difficult and last leg of this beautiful film.

I'm not ashamed to say that, several times, Maestro hit me like a suckerpunch, and had me in tears, and involuntarily sending my hand to my heart..

Mr. Cooper's effort, as well as those of the cast and production team, reveal this as a labor of love . . . a love letter to a man I've loved and revered since boyhood, and was one of the  people who shaped my own relationship to music. It doesn't get much more personal than that.