Bradley Cooper directs, co-writes, co-produces, and stars in “Maestro”, Netflix’s new biopic based on the life of American conductor and composer Leonard Bernstein. While the musical artistry of the incredibly talented Bernstein is on display, the movie’s central focus is on his complex and layered marriage to Costa Rican-Chilean actress Felicia Montealegre Bernstein, played with scene-stealing vitality by Carey Mulligan.

Along with Cooper, “Maestro” features a list of producers that includes Steven Spielberg and Martin Scorsese, both of who at different times were considered to direct. But after screening Cooper’s 2018 highly acclaimed box office hit “A Star is Born”, Spielberg handed the actor the reins. As a result, Cooper has made an arresting biography-esque movie that avoids many biopic traps. But in doing so it skimps on some helpful details.

First off “Maestro” works under the assumption that its audience already knows the professional/artistic merit of Leonard Bernstein. In one sense it’s a plus as we’re spared from getting yet another ‘cradle to the grave’ story. But for those lacking at least a working knowledge of Bernstein’s acclaim, it may be difficult latching onto “Maestro”. It’s a creative choice that’s both a strength and a liability depending on how much you know going in.

But I don’t want to shortchange what Cooper has accomplished. He captivates, both through his acting and in the director’s chair, showing off an extraordinary command of the camera (along with DP Matthew Libatique) and delivering a performance that should garner all kinds of awards season attention. Cooper’s intense commitment propels the movie in a number of ways. But it’s Mulligan who is the film’s true heart and soul.

The movie’s full-color opening takes us to the Bernstein’s Connecticut home where Leonard (more affectionately called Lenny) is giving a television interview. He plays a few aching chords on his piano while lamenting how desperately he misses his late wife Felicia. After a quick shift to striking black-and-white, Cooper transports us back in time to November 14, 1943. On that faithful day a 25-year-old Leonard Bernstein, the assistant conductor of the New York Philharmonic, gets the call to fill in for the orchestra’s ailing lead conductor. The rest is music history.

“Maestro” glazes over Leonard Bernstein the artist, alluding to his renown more than exploring it. People from his professional life routinely pop up with practically no explanation of who they are or what they do. They become nothing more than poorly sketched familiar faces. But Cooper doesn’t completely shelf Bernstein’s gifted artistry. He gives us a handful of revealing scenes, none better than his show-stopping recreation of Bernstein’s conduction of Mahler’s “Resurrection” inside Ely Cathedral. It’s an electric scene with currents of creative energy emanating from Cooper’s every pore.

But those scenes are few. Instead Cooper sets out to show us the Leonard Bernstein beyond the spotlight. The Lenny we see is a man of endless contradictions. His concern for his legacy is only outdone by his intense fear of being alone. And his obvious genius is only matched by his equally evident hedonism. His behind the scenes life was marked by social posturing, affairs with both men and women, and a number of poorly veiled insecurities. Yet Lenny maintained an indomitable spirit and a domineering passion that often clashed with the times he lived in while feeding a nearly insatiable love of self.

But a stabilizing force comes in the person of actress Felicia Montealegre played with such empathy and resolve by Mulligan. Felicia and Lenny meet in 1946 and there was an instant connection. Driven by their deep yet contradictory love, the two marry and eventually have three children. But over time the long-suffering Felicia finds herself lost in the shadow of her famous husband. Yet she remained devoted despite his overwhelming creative impulses and frequent dalliances with other men. And his dependence on her is such that she becomes the proverbial “woman behind the man”.

Cooper and Singer’s script moves “Maestro” from a love story to a domestic drama and eventually to a full-blown tearjerker. Along the way we’re treated to an assortment of directorial flourishes. Early on Cooper uses black and white and an academy ratio, shooting his scenes in a sumptuous Old Hollywood hue. Later scenes burst with a vibrant Technicolor glow. And it’s all surrounded by an appealing collection of Bernstein’s original music.

There’s so much to appreciate about Bradley Cooper’s “Maestro” yet there remains that one nagging issue. Cooper’s striking portrayal gives us a compelling sketch of Leonard Bernstein. But his artistic achievements are an afterthought. So much so that it feels like a huge chunk of the man is missing. And if you don’t understand his significance going into it, “Maestro” may leave you a little cold. Yet there is still plenty to love in Cooper’s direction, the performances, and the top-notch makeup and costumes. It may not be the most complete portrayal. But it’s a solid enough introduction to a man as layered as his musical compositions.

VERDICT – 3.5 STARS