‘The Maestro’: Bradley Cooper Orchestrates Leonard Bernstein’s Troubled Love

We can only be careful when we see a Hollywood star trying to take the director’s hat: it always acts on the whim of a spoiled child who wants more than he has, because the director’s profession requires concentration, the nature of which is the opposite of what the actor’s profession requires. Opposing predictions and superstitions, Maestro Confirms what was seen A star is born : Bradley Cooper is a film director. For the second film, the star received a biographical project about Leonard Bernstein, which remained on the shelf: first Scorsese wanted to direct it, then Steven Spielberg, but due to lack of time and Cooper’s first attempt, they were convinced. He will be the producer of his film.

The biopic released by Netflix and released for the holidays: it was enough to be lost to create the most formatted “authorized” object with the story of the life of Leonard Bernstein, the father. west side story, Conductor and great teacher who for decades hosted television programs to democratize classical music. His Tragedy should never be considered a serious composer—then The story on the west side, The reception of his work remains mixed. We don’t know much about this quest for recognition, which Bradley Cooper leaves to his biographers, because it’s a completely different story that interests him: his relationship with Felicia Montealegre, whom he met in 1946 – they married in 1951.

Maestro Opens with an old and lonely Bernstein (Cooper himself) giving a television interview from his Connecticut home that stirs memories. A long flashback begins: the year 1943 and the painting of the intellectual environment of New York in total madness. It is in the middle of one of these bohemian evenings that young composer Leonard and aspiring actress Felicia Montealegre meet.

In this first installment, in black and white, Cooper summons the frenzied energy of musical comedies, those films populated by a group of artists who set out to conquer New York, talking late into the night, drunk on ambition and desire. Director Breaking References: Stanley Donen (One day in New York, let’s sing in the rain), anger screwball comedies And a pinch of Woody Allen, who gives these totems a crazy energy, a little demonstrative. With a rotating Steadicam and sparkling dialogue, the upstart’s noisy virtuosity still fits the theme well. Everything here is surface, energy, youth.