Lenny’s relationship with Felicia was complicated, but “Maestro” rarely goes much beyond the surface. There’s a bubbling, infectious chemistry between the two as they meet and fall in love – and director Cooper wisely lets these scenes, and later the couple’s arguments, unfold in long, single takes. The affection between them feels genuine, and Mulligan is often great, finding ways in her portrayal of Felicia that go beyond the mere idea of a woman behind the man. And yet the Costa Rican-Chilean actress is often literally in Bernstein’s shadow; In one picture, she stands in the wings while her husband conducts, his exaggerated figure devouring her as if he were a monster. (Mulligan also benefits from costume designer Mark Bridges’ most exquisite fashion throughout the film.) But how does Felicia really feel about having to share her husband with a succession of men, most of whom are younger and flattering men? She catches him kissing a party guest in the hallway of her apartment in the historic Dakota Building and scolds him icily: “Fix your hair. You’re getting sloppy.” This is close to the kind of real, raw emotion that would have given “Maestro” more weight.
Speaking of the film’s superficial nature, much has been made of Cooper’s decision to wear elaborate prosthetics to complete his transformation into amber. The protruding nose in particular caused consternation, as Cooper is not Jewish. (Bernstein’s own children have defended the choice.) Makeup guru Kazu Hiro, who won Oscars for transforming Gary Oldman into Winston Churchill for “The Darkest Hour” and Charlize Theron into Megyn Kelly for “Bombshell,” Especially does a convincing job when Bernstein appears as a 70-year-old man at the very beginning and end of the film.
However, something happens towards the end of the film that deserves criticism. It’s the late 1980s and the frame has been expanded to widescreen. Bernstein drives his Jaguar convertible and blares REM’s “It’s the end of the world as we know it (and I feel good)”. Just as he zooms into the middle of the shot, lead singer Michael Stipe shouts the lyrics “Leonard Bernstein!” Well, maybe that’s something Bernstein did in real life; He obviously thought highly of himself, which is perhaps why he was so pleased to be mentioned in this capacity. But in a movie, that choice was an eye-roller. I groaned audibly.
Bernstein took risks in his work; That’s what made him great. “Maestro” would have been stronger if it had done the same.
Now in the cinema. On Netflix December 20th.