麻豆传媒映画

Bradley Cooper鈥檚 a high-wire act of a biopic, leaps constantly between on stage and off, flying through very public life as a conductor while diving into his more private marriage to Felicia Montealegre. How each side of Bernstein鈥檚 existence interacts with the other is the tension and harmony of 鈥淢aestro.鈥� Which is authentic? Which a performance?

Resolving those dichotomies is, thankfully, not the aim of Cooper鈥檚 admirably ambitious if performative drama about the musical conscience of 20th century America. Bernstein鈥檚 polymorphous life was spread between his family life and a string of male lovers, just as it was between conducting and the solitary toil of composing. 鈥淢aestro鈥� resists neat conclusions about any facet of an expansively contradictory life.

鈥淚f you carry around both personalities, I suppose that means you become a schizophrenic and that鈥檚 the end of it,鈥� Bernstein (Cooper) says with a laugh in a TV interview alongside Montealegre (Carey Mulligan).

鈥淢补别蝉迟谤辞,鈥� which debuts Wednesday in theaters before streaming next month on Netflix, isn鈥檛 a cradle-to-the-grave biopic, though it doesn鈥檛 avoid some of the genre鈥檚 standard pitfalls, either. It鈥檚 largely set around the beginning and end of his relationship with Montealegre, an actor he first meets at a party. 鈥溾�淗ello, I鈥檓 Lenny,鈥� he says, grinning from the piano bench.

It鈥檚 a framework with some benefits -- no matter what the title says, this is Mulligan鈥檚 movie 鈥� that also omits much of Bernstein鈥檚 most lasting accomplishments. There is little here of music making, generally, and virtually none of 鈥淲est Side Story,鈥� 鈥淐andide,鈥� 鈥淥n the Waterfront鈥� or all those influential TV broadcasts. Fans such as may not approve.

But 鈥淢aestro鈥� begins, thrillingly, in a black-and-white blur. Characters exit scenes like they're falling through trap doors, a surreal swirl propelled by the verve of Bernstein鈥檚 music. In the first scene, a 25-year-old Bernstein is woken with a call notifying him to substitute for Bruno Walter in conducting the New York Philharmonic that night. Enthralled, he pulls open the blinds, slaps, in rhythm, the bare bottom of the man sharing his bed and runs down stairs that magically lead right into Carnegie Hall.

It won鈥檛 be the last time that 鈥淢aestro鈥� draws a straight line between lovemaking and music. 鈥淚f nothing sings in you, then you can鈥檛 make music,鈥� Montealegre will later tell him. Music, no doubt, swells most in the Bernstein of 鈥淢aestro鈥� when he鈥檚 liberated to be himself.

On the night of their first date, Bernstein and Montealegre end up, fittingly, on a stage running lines, with one floor lamp casting them in shadow. 鈥淓ven though you鈥檙e the king, you鈥檙e quite taken with me,鈥� she says, explaining his characterization.

The fiction is quickly borne out, albeit with a foreboding sense of marital trouble. Another headlong sprint between scenes ends with the two rushing onto the stage of 鈥淔ancy Free,鈥� the Jerome Robbins ballet that will lead to 鈥淥n the Town." Bernstein, himself, joins the hip-swinging sailors.

鈥淢aestro鈥� is, for this roughly first black-and-white hour, wonderfully brisk and free of normal biopic constraints. It鈥檚 like a dream of 1950s New York modernism. Dialogue moves at an urbane clip. The photography, by Matthew Libatique, dips confidently between intimate exchanges and wide-shot vistas of the Berkshires of Tanglewood or of Central Park. (This is, most definitely, a great Central Park movie, full of romance and encounters along its pathways.)

When 鈥淢aestro鈥� shifts forward and into color, it loses its brio. The film, which Cooper wrote with Josh Singer, skips over the central decades of Bernstein鈥檚 accomplishments, taking up residence instead in the early 1970s.

By then, Bernstein and Montealegre are married with three children (the oldest, Jamie, is played by Maya Hawke) and a house in Connecticut. But even though Montealegre entered into the marriage without wool over her eyes (鈥淚 know exactly who you are,鈥� she tells him, early on), all is now discord. Bernstein鈥檚 dalliances, she tells him, have gotten sloppy. In a Thanksgiving Day argument in their Manhattan apartment overlooking the park, she seethes: 鈥淚f you鈥檙e not careful, you鈥檙e going to die a lonely queen.鈥� Right about then, an inflated Snoopy floats past the window, like an eclipse.

In scene after scene like this, 鈥淢aestro鈥� is staged exquisitely. But even as the film moves from its nervy first hour to its melodramatic set pieces, artifice steadily grips 鈥淢aestro.鈥� Cooper鈥檚 Bernstein has come , but it鈥檚 other affectations in his performance that smother. It鈥檚 a sincere performance, thoughtful and dedicated, but it鈥檚 also mannered and showy, drowning in turtlenecks, cigarettes and accents.

But Cooper, a sensitive director, was also wise enough to follow Mulligan鈥檚 increasingly moving performance. (She gets top billing, too.) The film鈥檚 slide into family dynamics comes at the expense of Bernstein鈥檚 larger story, but it yields a beautiful platform for Mulligan to capture a woman too infatuated by her husband to abandon him, but too clear-eyed not to be devasted.

鈥淚t鈥檚 my own arrogance to think I could survive on what he could give,鈥� she says.

It鈥檚 a powerfully piercing moment, followed by an extended, passionate recreation of Bernstein in 1976 conducting Mahler鈥檚 Second Symphony. There, gyrating at the podium before an orchestra, the film tells us, may be where Bernstein truly gives all of himself.

Some of America鈥檚 top filmmakers have long been tempted to tackle a film on Bernstein, among them Martin Scorsese and Steven Spielberg (both credited producers here). But Cooper鈥檚 film never finds its balance. If Bernstein's sexuality must be the prism through which we view him, why do his male lovers (Matt Bomer makes a brief impression) pass by so fleetingly? 鈥淢aestro鈥� is a fine portrait of a complicated marriage. But for a man who contained symphonies, that leaves a lot of notes unplayed.

鈥淢补别蝉迟谤辞,鈥� a Netflix release is rated R by the Motion Picture Association for some language and drug use. Running time: 129 minutes. Two and a half stars out of four.

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Jake Coyle, The Associated Press