Showing posts with label Leonard Bernstein. Show all posts
Showing posts with label Leonard Bernstein. Show all posts

Thursday, December 21, 2023

Maestro

 


Leonard Bernstein was one of the Towering figures in the culture of the 20th century. A conductor, a composer, an intellectual and a humanitarian he was also a man who had a conflicted emotional life and who's personal relations seem to have complicated all of his history. Director actor Bradley Cooper has attempted to create a biopic that does justice to this man, in a short 2-hour period. That he largely succeeds has to do with the tools that he used and the choices that he made. Cooper also co-wrote the script and I suspect the combination of his direction and screenwriting is largely responsible for the way this film feels different than a traditional biopic would.

One of the immediate indications that the film is going to be different is in the way it plops us down directly into the story with very little setup. Although we start with a key incident in Bernstein's life, most of the film does not attempt to highlight the key moments in his life but rather reflect the way he lived that life. Bernstein got the opportunity to conduct for the first time on a live radio broadcast very early in his career. The event made him a national figure almost immediately. Cooper stages this at the beginning of the film in a very interesting way with very limited concert footage and instead a creative setup of the situation, and then a follow-up with a press conference that seems to provide plenty of narrative explanation without forcing the issue too much.

The dialogue in this film is delivered in a rapid manner with occasional opportunities for the characters to speak over one another. This however does not feel like a cluttered Robert Altman script but rather a more natural form of conversation. Cooper's script, along with the way he has directed the actors, makes these moments feel very much like we are watching home movies of these conversations and events rather than something that is being restaged for the film. Bradley Cooper and actress Carrie Mulligan both deliver their lines at a quick pace but one that seems to reflect the characters rather than the technique of the filmmaker.

The film focuses on the marriage between Leonard Bernstein and actress Felicia Montealegre. The fact that they are focusing so much on this relationship makes it key that the actors treat the characters as people rather than merely parts that are being played. Cooper for his part does a fantastic representation of Bernstein who had well-known mannerisms, vocal patterns and an appearance. There's been some controversy about his use of a prosthetic nose to create a closer resemblance to Bernstein, but that use seems to simply be a typical dramatic tool that actors have been using for centuries. Anybody who takes umbrage at this tool seems to be looking for something to create controversy, rather than genuinely being concerned about some ethnic slur. Mulligan's character is less well known so it's hard to say that her performance is spot on, but it is easy to say that it is very effective. In many ways her role is the key one in the story since Bernstein is largely reflected in the relationship that he had with her, rather than focusing on his musical accomplishments.

In addition to the script taking a different path in order to make this biopic stand out, Cooper uses a couple of cinematic techniques that do the same thing but, I do think that they draw a little attention to themselves. The first third of the movie is in black and white. It looks beautiful and it feels appropriate for the time period, which I suspect was the point that Cooper was trying to make in the first place. The last half of the film is in color and it also looks distinctive to the time periods of the 60s and 70s, the era which makes up the majority of the period that the film covers. The other technique that looked obvious to me but I'm not quite sure what it accomplishes, is the use of a 1: 33 aspect ratio. When we are dealing with the black and white section of the film, that aspect ratio might resemble a television of the time, so I can see that in creating something that is supposed to resemble real life, the artificial box shape would actually feel more realistic to an audience that recalls that time from what they saw on television. It was not clear to me why we continued to use that aspect ratio when the film transitioned to color. We only get a widescreen presentation at the very end as the credits begin to roll.

In addition to his brilliance Bernstein was a bit of a libertine when it came to his sex life and in the later parts of his life, perhaps to the use of cocaine. This film never suggests that drugs were in any way a help or a hindrance to Bernstein's career or relationship. The sexual issues however, are in fact, the main point of conflict in the relationship between him and his wife. Felicia apparently was aware that Leonard took lovers of both sexes and well not necessarily approving, had accepted that that was part of his persona. As we watch the avuncular and outgoing Bernstein go about his daily life we can understand at least a little bit how he seemed to embrace all of his Passions with little regard to the conventions of the day. His wife seems to simply expect him to behave with some discretion, and it is divergence from that expectation that leads to the tensions that come up occasionally. Even knowing that he was not always faithful to her, Felicia seems to be Lenny's most ardent supporter. Cooper depicts the main conflict as occurring when it's possible his daughter, as a young adult, begins to hear rumors about his infidelities. In this script it appears that Leonard was not ashamed so much of the fact that he was unfaithful to his wife with other men, but rather that he is forced to lie to his daughter because of the conventions of the day and the limitations his wife has imposed on him.

In no way is the suggestion made that Leonard Bernstein had anything other than love for his wife. Rather, the way Cooper has portrayed him is simply a reflection of his ebullient personality and his unwillingness to contain his passions, both for music and for sexual satisfaction. Bernstein does not come across as somebody who is being thoughtless of his partner, but rather has someone who is so enamored of his own lifestyle that he is unaware that sometimes, even though his wife knows of his infidelities, he has hurt her. Although same sex relationships are part of his history, they occur largely off screen in the film.

There are references to Bernstein's musical accomplishments throughout the film but most of that is presented in a very offhand manner. There are only three or four moments where the music dominates the narrative. That is not to say that the music is tangential in this story, quite the opposite. We know that Bernstein is a figure far above the average composer of the 20th century. Two illustrations show us this in the film. There is a sequence of a Broadway ballet featuring three sailors in which Bernstein and Felicia ultimately participate, and which shows how his music can transport us into a different world. Most film goers will recognize that this is the source of the material for the film “On the Town”. The second major musical sequence that is a key component, both of the drama and of the character that is being portrayed, is the segment where Bernstein conducts a piece of music by Mahler in the National Cathedral. The music itself is a moment of elevation, but the portrayal of Bernstein by Cooper in this moment, is also sublime. It also marks a point in the drama where the maestro and his wife reconcile after a particularly unpleasant separation.

As I was watching the movie I was not sure if I was really enjoying it or if it was just presented in a mannered  way simulating the characters in the time period. However the longer the film went on and the more I have thought about it since I finished watching it, the greater degree of respect I have for the movie. It is growing on me even now as I'm writing these words. What I initially thought might be a solid film is turning into one of my favorite films of the year. And most of that has come the deeper I have thought about the movie and the way it has been made. 

This is a Netflix film and congratulations to them on producing something so artistic and worthy, but shame on them for having it in theaters for such a limited amount of time and continuing to pursue creating a streaming audience rather than a theatrical audience. This movie is only scheduled to be in theaters for a short period of time. Maybe the fact that it is in an aspect ratio that fits an old television will make it seem like this is an appropriate choice, but I think in the long run audiences will find it a disappointment if they experience this at home rather than in the theater with an audience and a terrific sound system. I'm not in charge of these things but if I had my way this would be a movie that would stay in theaters long enough to collect honors and awards at the end of the year and then move to home video where a wider audience will discover it, but maybe not appreciated as much.

Sunday, November 26, 2017

West Side Story:L.A.Philharmonic

I'd not intended to write a post on this event, because I did not realize until we got to the venue that they were going to play the entire film. I was under the impression we would be getting a medley type concert, but it turns out this was one of those performances where the music in the film is entirely replaced with the live music in the concert hall. Since it is my policy to post on any film I see in a theater, this roughly qualifies.

"West Side Story" is one of the few movies I remember going to with just my Mother and older brother. It must have been 1968 when I first saw it and it was on a double bill with "In the Heat of the Night" of all films. I don't know if it was a nationwide match but I do know that the Mirish Company produced both films so a double feature was a probability. So I saw two Best Picture winners on the same night and I was probably just ten years old. I did write about "In the Heat of the Night" earlier this year when it was the opening film at the Turner Classic Movie Film Festival, but as far as I can see, there is not a previous post on "West Side Story".

I know that the Lambcast this week was going to be a movie musical draft, and I hope this is one of the films that got picked. It has always been a film that moves me. My daughter laughs at me because I tear up at the finale of the film. That's right, I'm a big wuss. The modern day re-telling of Romeo and Juliet is deeply moving just concerning the story, but when you pile on the fantastic dancing, the dynamic performances and the Leonard Bernstein music, it just knocks me over.

The overture today got my heart racing. As each melody is introduced, I could pick out the instruments in the orchestra that were playing and listen for the personality of each performer. When the lush violins come in for "Tonight" I began to feel the emotion build. The Jet Song gets the plot started and sets up the premise of the rivalry, and then Tony sings "Maria" and I frankly well up with admiration for the delicate poetry of Stephen Sondheim's lyrics. The whole orchestra bangs into the Dance at the Gym numbers and it was loud and powerful and gets the blood stirring. When people say they don't like musicals, to me it is almost like saying you don't like music. How could you not want to follow our lovers, fear for our friends and families and marvel at the dances in this movie?

So much of the credit goes to the original Broadway director/choreographer Jerome Robbins. He managed to make gangs doing ballet moves look like something that would express their feelings and still leave them as dangerous youth. Robert Wise brought cinematic magic to the movie as well. The opening helicopter shots and the quick edits to the locations match up with the Bernstien music and drag us into the context of the film quickly. There are a half dozen transitions that are clearly created by Wise and the color design of the film with the terrific cinematography is definitely more Hollywood than Broadway. Twenty years ago, one of the English Teachers who taught a cinema based class was out for a few weeks. The Dean asked me if I could take over the class and show a film one day and talk about it enough the next class day to help the students with their paper. I was happy to do so and the film that they were showing was "West Side Story". The Dean knew that I was a film buff and could probably carry it off. Fortunately, I did not have to read the thirty or so papers that were written, but I did get to talk about the film making techniques, and director's choices made here. It might have been my first attempt at a movie blog, even if it was not published on line.

The emotional peak of the music occurs during the "Tonight" Quintet, as several different voices trade off their stanzas, each one using the same notes but lyrics that are sadly at odds. The heart breaking innocence of Tony and Maria is contrasted with the bitter sniping from Riff and Bernardo and underscored with Anita's lustful planning. It builds to a crescendo and then it is immediately followed by the haunting silence which is broken by familiar whistles as the two gangs converge for the rumble. The L.A/ Philharmonic stays right in place with the screen and the music works marvelously. Today they were led by David Newman, an Oscar nominated composer and a regular conductor of classical music and film performances. I have seen and heard his conducting work at the Hollywood Bowl on numerous occasions and this day he dis another smashing job bringing the music of the movies to life for an audience.

The experience today was an invigorating end to a long holiday weekend. It was a great surprise and offered me an additional opportunity to write something for you "Tonight".