Maestro — Bradley Cooper’s second film as director after A Star Is Born in 2018 — delves into the complex life of legendary composer and conductor Leonard Bernstein, showcasing Cooper's multifaceted talents as a writer, producer and actor. The film not only celebrates Bernstein’s musical genius but also his humanity, presenting a man grappling with personal and professional challenges.

Structured like a symphony, Maestro paints a vivid picture of Bernstein’s career highs and personal lows, with a focus on his relationship with wife Felicia Montealegre (Carey Mulligan). The film begins with an elderly Bernstein reflecting on their shared life after Felicia’s battle with cancer, framing the narrative within the confines of memory. The flashback takes us to 1943 — a young Bernstein’s star-making moment during a performance at Carnegie Hall and the energy at the start of his career.

The initial black-and-white sequences capture the romantic excitement of the early phase of Bernstein and Felicia’s relationship. The rapid-fire quips between the characters evoke the lively spirit of screwball comedy. In collaboration with cinematographer Matthew Libatique, Cooper creates stunning tableaus to convey the musician’s passion through light, shadow and silhouette.

The film transitions to colour as the story moves into the late 1950s and early ’60s, and old Hollywood losing some of its allure as reality creeps in. This segment explores the challenges Bernstein faced, including his homosexual dalliances, hubris and insecurities.

Cooper’s direction shines in certain colour scenes, particularly the intense moments of conflict between Bernstein and Felicia. The decision to keep the camera at a distance adds a layer of tension to the heated exchanges. Cooper has incorporated Bernstein’s original works into the film’s score, like pieces from West Side Story, Mass and Candide, while also using silence as a storytelling device in several scenes.

At times, Maestro struggles to stay focused on the main theme and steer away from the strands. The film is concerned with Bernstein’s ambivalent sexual desire but doesn’t explore his inner conflicts around it. Felicia — played to near perfection by Mulligan — is defined by her proximity to Bernstein, leaving her perspective and internal strife largely unexplored.

While the film does skim over aspects of Bernstein’s private life and relationships, Cooper the actor succeeds in bringing this American legend to life. He balances the youthful exuberance of an early Bernstein with the intensity of a mature musician consumed with his craft, delivering an electrifying six-minute recreation of a 1973 performance of Gustav Mahler’s Resurrection Symphony. Bradley Cooper’s transformation into Leonard Bernstein — with the assistance of prosthetics master Kazu Hiro — is also a highlight of the film.