I saw Maestro. It was an okay movie. I found, as a writer, that it had the same major flaw that movies about writers have: Maestro didn't show the process of creating the music, of creating the art, the struggle and joy. I think of a story that Glenn Fry told about Jackson Browne. Years before they hit it big, Fry lived in an apartment above Browne. And he'd hear Browne working on songs. The piano, the experimentation with words in trying to find the right lyrics, and the humming of the melody when the words weren't there yet. And then Fry would hear Browne making tea. The rattle of the cup and spoon. The steaming kettle. And then the long silences, an hour or two, before Browne started working on the song again. Maestro captures none of Bernstein's process.
I’m hoping to write a stack about this. I’ve had lots of conversations about it with my husband, who is a classical pianist. He also found it a huge lack in the movie, and (unlike some viewers) did NOT feel Cooper even captured Bernstein as a conductor, let alone a composer. It was a brilliant impersonation, but Cooper wasn’t united with the music the way Bernstein was. How could he be? So maybe, don’t even try! I guess he wanted viewers to be dazzled by his virtuosity. And most have been. And you’re right, movies don’t do creative process—I guess they think it will bore people. Personally, I was fascinated by the parts of the books and videos I watched that focused on just that.
Agree with both you and Sherman here. I want more of the creative process because that is so essential to the being of a creator like Bernstein, along with his Jewishness and gayness - also part of what he created. Otherwise, it’s just a clever impersonation without soul or spark, which is what I came away with from the movie - a big disappointment. Getting an inside look at musical creative process was what made Peter Jackson’s Get Back about the Beatles so great. Of course, that was a documentary 😉
Although it exposed his ignorance about what chutzpah really means. Discussing this the other day with a fellow creator and friend, we decided that grasping at the polarity of an issue is the beginning of understanding. Bradley chose the wrong end of the meaning in choosing the egoic version of political safety. Missing the magic that entrances us as humans. The magic that is chutzpah. I treasure that, he misses the point.
Beautifully conceived and written. I’m no expert on Bernstein, but I’m a huge fan of his classical music lectures and his songwriting. West Side Story is for me one of the shining masterpieces of American songwriting. I love The Music Man too, but yeah.
Thank you so much Karl. I actually love Music Man too—some of the songs are gorgeous (“Till there Was You”) and the romance between Harold Hill and Marion is delicious. I can sing all those songs too (well, “sing” isn’t exactly the right word, maybe.) But, as Sondheim says in an interview, until “West Side Story,” musical theatre was “for pleasant people and about pleasant people with pleasant problems.” (Or something along those lines.) (Gotta get that TV book out to you today, btw. I haven’t forgotten.)
I wonder about musical theatre's being “for pleasant people and about pleasant people with pleasant problems.”
Not all. I wouldn't put "South Pacific" in that category, with its examination of racism, or even "Oklahoma," given Jud's sexual perversions. In "Carousel," there's spousal abuse (and because of that, my cousin loathes it). Happy endings these musicals might have, but they bothered a lot of people when they were first shown.
As per the story of two well-heeled men waiting after "South Pacific" for the New Haven train back to New York: "That business about the lieutenant and the native girl is all wrong. They should cut it and that song." (I confess, I paraphrase.)
You know, that song -- "You've Got to Be Carefully Taught."
You’re absolutely right. Rodgers and Hammerstein did go to dark and disturbing places, which people perhaps didn’t notice as much at the time because of the songs and the happy endings (although I wouldn’t call the ending of “Carousel”—my favorite of those three—“happy”). I’m glad you made this point.
Thank you for sharing insights to so much that I had no awareness of, I was oblivious to the things you've mentioned when I watched Maestro and thought Cooper did well, my ignorance (in many areas) has become more evident since joining Substack so I will Thank you again for enhancing the experience.
The wife and I watched "Maestro" the other day. It was an amazing movie in so many different ways for us. We fell in love with Carrie Mulligan and as we watched, both looked at each other and said "Oscar!" I like the directing and the choice of camera shots and angles; the black and white was an amazing choice. It was stylistic. I liked it .
I saw Maestro. It was an okay movie. I found, as a writer, that it had the same major flaw that movies about writers have: Maestro didn't show the process of creating the music, of creating the art, the struggle and joy. I think of a story that Glenn Fry told about Jackson Browne. Years before they hit it big, Fry lived in an apartment above Browne. And he'd hear Browne working on songs. The piano, the experimentation with words in trying to find the right lyrics, and the humming of the melody when the words weren't there yet. And then Fry would hear Browne making tea. The rattle of the cup and spoon. The steaming kettle. And then the long silences, an hour or two, before Browne started working on the song again. Maestro captures none of Bernstein's process.
I’m hoping to write a stack about this. I’ve had lots of conversations about it with my husband, who is a classical pianist. He also found it a huge lack in the movie, and (unlike some viewers) did NOT feel Cooper even captured Bernstein as a conductor, let alone a composer. It was a brilliant impersonation, but Cooper wasn’t united with the music the way Bernstein was. How could he be? So maybe, don’t even try! I guess he wanted viewers to be dazzled by his virtuosity. And most have been. And you’re right, movies don’t do creative process—I guess they think it will bore people. Personally, I was fascinated by the parts of the books and videos I watched that focused on just that.
Agree with both you and Sherman here. I want more of the creative process because that is so essential to the being of a creator like Bernstein, along with his Jewishness and gayness - also part of what he created. Otherwise, it’s just a clever impersonation without soul or spark, which is what I came away with from the movie - a big disappointment. Getting an inside look at musical creative process was what made Peter Jackson’s Get Back about the Beatles so great. Of course, that was a documentary 😉
Bradley lacks the magical elixir that is chutzpah. I grew to disliked him as an actor after watching this.
It didn’t make me dislike him, but I certainly wasn’t as impressed by him as i once was (for example, loved “Silver Linings Playbook”)
As you say, no magic. But actually, a lot of chutzpah—to imagine he could pull off Bernstein!!
Although it exposed his ignorance about what chutzpah really means. Discussing this the other day with a fellow creator and friend, we decided that grasping at the polarity of an issue is the beginning of understanding. Bradley chose the wrong end of the meaning in choosing the egoic version of political safety. Missing the magic that entrances us as humans. The magic that is chutzpah. I treasure that, he misses the point.
Ah, yes. I was accusing Cooper of “the wrong end” of chutzpah!
I couldn't find it on Max so thanks for letting us know where to find it free!
Beautifully conceived and written. I’m no expert on Bernstein, but I’m a huge fan of his classical music lectures and his songwriting. West Side Story is for me one of the shining masterpieces of American songwriting. I love The Music Man too, but yeah.
Thank you so much Karl. I actually love Music Man too—some of the songs are gorgeous (“Till there Was You”) and the romance between Harold Hill and Marion is delicious. I can sing all those songs too (well, “sing” isn’t exactly the right word, maybe.) But, as Sondheim says in an interview, until “West Side Story,” musical theatre was “for pleasant people and about pleasant people with pleasant problems.” (Or something along those lines.) (Gotta get that TV book out to you today, btw. I haven’t forgotten.)
I wonder about musical theatre's being “for pleasant people and about pleasant people with pleasant problems.”
Not all. I wouldn't put "South Pacific" in that category, with its examination of racism, or even "Oklahoma," given Jud's sexual perversions. In "Carousel," there's spousal abuse (and because of that, my cousin loathes it). Happy endings these musicals might have, but they bothered a lot of people when they were first shown.
As per the story of two well-heeled men waiting after "South Pacific" for the New Haven train back to New York: "That business about the lieutenant and the native girl is all wrong. They should cut it and that song." (I confess, I paraphrase.)
You know, that song -- "You've Got to Be Carefully Taught."
You’re absolutely right. Rodgers and Hammerstein did go to dark and disturbing places, which people perhaps didn’t notice as much at the time because of the songs and the happy endings (although I wouldn’t call the ending of “Carousel”—my favorite of those three—“happy”). I’m glad you made this point.
I think Sondheim was right about that.
Thank you for sharing insights to so much that I had no awareness of, I was oblivious to the things you've mentioned when I watched Maestro and thought Cooper did well, my ignorance (in many areas) has become more evident since joining Substack so I will Thank you again for enhancing the experience.
Thank you so much, Shire!
The wife and I watched "Maestro" the other day. It was an amazing movie in so many different ways for us. We fell in love with Carrie Mulligan and as we watched, both looked at each other and said "Oscar!" I like the directing and the choice of camera shots and angles; the black and white was an amazing choice. It was stylistic. I liked it .
In my next stack I’ll get into some of the things I liked about it. I agree that Carey Mulligan was terrific.
I completely missed this! Sorry. Everything you said. Yes! So I'm not alone...