‘Maestro’ Trailer …

Here’s the official, full length trailer Bradley Cooper’s “Maestro.”

Bradley Cooper’s “Maestro” had its big New York premiere last month. Director and star Cooper made an inconspicuous appearance at the NYFF premiere, skipping press in solidarity with SAG-AFTRA.

The screening took place at the David Geffen Hall, home of the New York Philharmonic. On Sept. 23, 1962, Bernstein and the Philharmonic performed the inaugural concert at the venue. This was a homecoming attended by the Bernstein family.

As for the reactions … They were all over the place. I did speak to someone who had attended a test screening of “Maestro” back in the Spring, he loved it then, but wasn’t as enamoured by the cut he saw last month at NYFF.

People I trust on the ground at NYFF told me that this film is kind of a mess, and that the reviews don’t really tell the whole story. I’ll only be watching “Maestro” next week.

It seems as though Cooper kept the middle section, but the first 10 minutes and last 10 minutes were “very different.” Which is not surprising. I had already written about the numerous cuts — I believe there were three — that were being tested many months ago.

Here’s Tyler Gibson reporting for us from NYFF with his two cents on the film:

If “Star Is Born” proved Bradley Cooper could direct a movie, “Maestro” positions what he actually wants to direct is a *film*. While that may sound contradictory and pretentious, the follow-up directorial effort from the actor displays an ambitious desire in formal exercise. A creamy montage of crystalized black and white photography heightens adventurous camerawork that matches Cooper’s boisterous energy as a performer. There’s an operatic grandness to this enterprise—the musical sequences of conducting are performed during long tracking shots of guttural gusto. A standout moment finds Carey Mulligan revealed in the background onlooking as Cooper as Bernstein bears his soul on stage. Unfortunately, these set pieces and director highlight reels are emblematic of the film’s massive flaw. Cooper simply is not an auteur with a singular voice and as a result, meanders aimlessly in pursuit of both thematic grounding and narrative drive. It’s as if he lost himself in the edit room during post-production, conflicted between telling the story of an exterior man tormented by interiority or romance defined by co-dependency. A third act detour to structure Carey Mulligan as the heart and soul behind it all feels like an unearned epiphany. With feigned 1950s mannerisms, Mulligan surely gives her best and grittiest try bringing to life a wife excluded by spousal ego. But Cooper the Director not only does her a disservice, but a disservice to Cooper the actor, as well. His vivacious performance of an artist masking internal resentment with an animated external persona is a triumph of immersion. Cooper shapeshifts into the husky makeup with a zesty physicality and smoky speaking rhythm that demanded a more introspective and speculative role. “Maestro” is a maximalist study of everything but character (B)

“Maestro” had a Metascore in the 80s at Venice, it’s gone slightly down, since it’s NYC premiere, to 78 on MC. It has an 88% on Rotten Tomatoes, with a 7.7 average rating.

Regardless, I can’t see this one not getting Oscar-nominated. We’re looking at contention for Picture, Director, Actor, Actress, Screenplay and Cinematography.