Maestro
If you’re not careful, you’re going to die a lonely old queen.
It’s one morning in the 1940s, a young boy named Leonard Bernstein is woken up by a phone call: he will replace Bruno Walter as director of the New York Philharmonic where he achieved his first success as a conductor.
Thus begins the second film directed and starring Bradley Cooper, Maestro, released in a few selected theaters today 6 December and on the 20th of the same month on the Netflix platform, with the production of Cooper himself, but also names of the caliber of Martin Scorsese and Steven Spielberg.
Bernstein is an author who mixes cinema, music and life together. Bradley Cooper does nothing but show how Leonard takes more and more space in the scene, a visionary of narration.
Over the course of painful and loving experiences, we trace the path of two extraordinary lives (that of Leonard and his wife Felicia Montealegre played by Carey Mulligan), which intertwine in an unconventional time, pervaded by sincerity and free from hatred.
Lenny, represented on Bradley Cooper’s face with a striking resemblance, draws, underlining a genius given to the world.
In an ideal and concrete way, the Maestro crosses an ellipsis between tones and substance, trying to explain the photography of Matthew Libatique, which moves from black and white to…
