By Steve Crum

Fans of movie biographies are in celebrity heaven these days with a raft of famous names featured in movies about their lives. From Robert J. Oppenheimer (portrayed by Cillian Murphy), the list includes Napoleon Bonaparte (Joaquin Phoenix), Bayard Rustin (Colman Domingo), and Diana Nyad (Annette Bening). Then there is Stephen Fry voicing an animated Leonardo da Vinci. 

Why not include the famous doll, Barbie (Margot Robbie)? OK, done.

And so wonderful is the performance of Bradley Cooper as composer-conductor Leonard Bernstein in Maestro.  It is a film well worth seeing for its acting, direction and (not surprisingly) music. 

Cooper and Josh Singer’s screenplay focuses on Bernstein’s career and private life—from 25 year-old as assistant conductor of the New York Philharmonic, to his lead baton with the Philharmonic, and through classical compositions, operas and Broadway musicals. Concurrently, Lennie’s love life is a story unto itself. A bisexual during the time when such was very hushed up, he nonetheless publicly appears to be hetero via his long-time marriage to Felicia Montealegre (Carey Mulligan). They even have three children. Throughout their long marriage, Felicia becomes less and less accepting of her husband’s roving infidelity with gay men, particularly clarinetist David Oppenheim (Matt Bomer). 

Maestro is a textured and layered story utilizing flashbacks, perfectly blended overlaps, and Matthew Libatique’s stunning visuals. Michelle Tesoro’s editing is super. 

Much, too much, has been said about Bradley Cooper’s use of a prosthetic nose—to resemble Bernstein’s. It’s really a non-issue. 

For me, a plus of biopics is the depiction of famous people by actors. Sure, Bradley Cooper is perfect in the lead role. In Maestro, we also get writing and performing cohorts Adolph Green and Betty Comden—played by the exuberant Nick Blaemire and Mallory Portnoy. Sarah Silverman does fine work as Shirley Bernstein, Leonard’s sister. Michael Urie’s Jerry Robbins and Brian Klugman’s Aaron Copland are A-OK.

Leonard Bernstein’s memorable music dominates Maestro throughout its 129 minutes, and that is a treat. If possible, see the film either in a movie theater or via a surround sound system at home.    

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GRADE on an A-F Scale: A-