Came in knowing nothing about the guy, and even after 2 hours I can't say that changed. A common critique of biopics is how their structure usually facilitates merely the broad lines, the Wikipedia summary. Well, let me tell you, Bernstein's Wikipedia page is infinitely more interesting than anything this shows on screen. I mean, the guy had an FBI file due to his left-wing activism, and even Sherlock couldn't deduce that out of this film. Granted, Cooper seems more drawn to interiority, to psyche, but his insistence on bulldozering through the story leaves emotional connections severed. So much nuance is lost that when Bernstein has a fight with his wife, the performances mighty as can be, the motivations behind their disagreement were absent to me. Cooper doesn't seem able to decide how the hell he wants to approach this man. Is it about a troubled mind, an artist wrestling with the inevitably of his end? Is it about a marital struggle fueled by sexuality and ego? Is it about Bernstein's connection to the realm of music? It's all of this and ends up none of this, each element so criminally undercooked it's ultimately unfocused.
Maybe the biggest offense, though, is how little we see him actually conduct. It takes 90 minutes for the film to properly show us the conductor doing what that name entails, and it's powerful, not only musically but also through the energy and dedication displayed by Cooper. Obviously, 2 hours of this is not what I'm asking for - but it does hint at the underlying problem of Cooper not understanding where the strengths in this tale lie. Incredible how last year's Tár boasts a completely fictional character that feels more real and defined than the recreation of an actual person here.
At the end of the day, it looks neat and features some marvelous performances that will probably sneak their way into the awards season, but, ultimately, there doesn't appear to be a point, which dooms both your engagement and remembrance: I watched this mere hours ago and forgot about it multiple times already.
Maybe the biggest offense, though, is how little we see him actually conduct. It takes 90 minutes for the film to properly show us the conductor doing what that name entails, and it's powerful, not only musically but also through the energy and dedication displayed by Cooper. Obviously, 2 hours of this is not what I'm asking for - but it does hint at the underlying problem of Cooper not understanding where the strengths in this tale lie. Incredible how last year's Tár boasts a completely fictional character that feels more real and defined than the recreation of an actual person here.
At the end of the day, it looks neat and features some marvelous performances that will probably sneak their way into the awards season, but, ultimately, there doesn't appear to be a point, which dooms both your engagement and remembrance: I watched this mere hours ago and forgot about it multiple times already.