maestro review: bradley cooper's new film has flashes of genius
There's an eternal temptation with public figures to convince ourselves that, because we see and hear them so often, we must actuallythem. But listening to someone's musical output for decades, or watching their every TV appearance, doesn't necessarily bring us any closer to understanding the movements of their heart or the decisions they make.
Scenes like this demonstrate how Cooper is not employing black-and-white just for a cheap evocation of "the past" but to utilize the format's unique storytelling capabilities. The same is true for his use of full color; when the film leaves black-and-white behind, this change is evident not just in the character's faces but in how the camera luxuriates in the lush foliage of the Bernsteins' Connecticut estate.
Much later in the film , husband and wife are having a fierce argument in a side room amidst their family's Thanksgiving gathering. As the two shout past each other, the overlapping audio makes it hard to discern the specifics of what each is saying…that is until Montealegre unleashes a truly cruel put-down, the harshness of which is emphasized not by Oscar-bait over-acting but by the bleakly hilarious sight of a gigantic Macy's parade balloon floating past the windows behind them.
The couple is fighting because, even though Bernstein loves his wife dearly, their marriage has never been a reason for him to stop carrying on affairs with handsome — and younger — men.does not shy away from the complications of its subject's sexuality; instead, it takes viewers back to a time that can now seem foreign even though it wasn't that long ago, when queer people had to live within heteronormative structures of marriage while still finding ways to express their real desires.
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