“If summer doesn’t sing in you, then nothing sings in you. And if nothing sings in you, you can’t make music.”

Maestro is Bradley Cooper’s second film and my fifth film at the London Film Festival. It’s a biopic that documents the career and marriage of composer Leonard Bernstein, played by Bradley Cooper himself. 

Going into this, I thought it would be disingenuous Oscar-bait. A film that was so wrapped up in its own ego that it couldn’t acknowledge it’s own pretension. The other outcome I had in mind, was that it would be one of the best films I saw at the festival. Turns out, it was neither. Sure, the film is sort of in love with itself, but it’s self-aware at the same time. 

The direction wasn’t obnoxious like I feared it would be, though at times it bordered on it due to its grandiose tendencies. The only time I really felt this was in the musical number. But Bradley Cooper presents each era differently and those transitions, whether they be big or small, assist the ageing of Bernstein in a visual way. It may not have been subtle, but it nicely portrayed the modern world evolving and Bernstein’s life and career changing with it.

Apart from the random bouts of swearing in the second half that felt quite forced, the writing was quite good. The insight to the struggle of an artist, how an artist can have difficulties balancing their art and their personal life, the delicate reputation of celebrities in the late 20th century. All of these are effectively portrayed and give some great viewpoints. The only negative in the writing is that the film can drag sometimes. I have no issues with slow burn films when they’re saying something worth the patience, but at times the film slowed down and forgot to say anything of any importance. 

As a film centred around the life of a character, it would be a fundamental flaw to have that character hollow and uninteresting. Luckily, Leonard Bernstein doesn’t fall to this fate. The writing builds him as a character excellently. The struggle of an artist against a brutal personal life is delicately presented in an emotionally-charged way. This is all elevated by the graceful performance from Bradley Cooper, a true transformation. Every minute detail feels so distinct, really making Bernstein feel real. I’m sure he’ll be a contender this awards season and if he won I wouldn’t be mad at all.  

Carey Mulligan levels the playing field. She gives heartbreaking portrayal of Leonard Bernstein’s wife, Felicia Montealegre, bringing so much raw emotion to the film. Having the film equally focus on her story during their marriage and her influence on Bernstein’s life was a great decision. An insight to not only the most important person in Bernstein’s life, but the affect Bernstein had on those he loved. 

It was the film I was unsure of the most before going in, due to the execution in the trailers and the clichés biopics tend to fall to. But after seeing it I can say I’m pleasantly surprised. Now onto Priscilla, my next film in my double film day.