音乐大师

雪中送炭还是锦上添花…大艺术家的人生，注定是身边的人或者成为炮灰，或者成为蜡烛，很少能够成为阳光。

这次的作品，各种要素齐备，讲述指挥家音乐家艺术家的一生，但是自己更加关注的是，他这一生到底爱的是谁，是自己的妻子，还是自己的友人…其实如果是多年前自己对于这个话题反应会更加激烈，但是如今自己倒是对于这种话题的中心人物，会多一些理解和耐心，人啊，终究是会变得…有的时候，不做出选择，我们就拥有了最为有利的道德地位，一切的背德感，一切的罪孽，仿佛都是对方的，如果能够哄骗了自己的良心，更加可以高枕无忧…有的时候，如果一生奉献给了更加高层次的存在，那么情感也许从来都不在考虑范围之内，这个时候，爱的是男人还是女人，也就更加不重要了…有的时候，也是最为沉重的模式，那就是，想要家庭美满外人艳羡，又要彼此理解相互支持，这个时候，会不会有些贪得无厌了呢…总得来说，库珀大帅哥的命题作文，冲着各种学院奖项量身定制的"八股式"作品，虽然画面色彩演技都属于上乘，但是每一种主题都是软绵绵的没有触及核心，不单单是求全责备丢失重点就可以解释的，更多的是没有彻底剖开人物内心去给观众了解的勇气，anyway看到孔雀和库珀两位帅锅的互动戏份，也算是很养眼就是了，个人评分8.6分，推荐指数四星。

我以为是音乐大师版本的一个巨星的诞生，结果两人事业顺风顺水。

我以为是为追求艺术妥协爱情的爱乐之城，结果两人艺术爱情双丰收。

我以为结婚后要来婚姻故事，结果两个人兜兜转转生了病后丈夫痴情守候。

那年代搞这种地下型半开放式关系也不简单，而且男主偏好明显是男性，但是夫妻两人却没有太多爆发和纠缠。

与其说是妻子代表着男主对主流社会和娱乐圈的妥协，倒不如说是妻子作为同样才华洋溢甚至性格上更强势坚定的情况下镇住了他的忧郁厌世，颇有梁朝伟和刘嘉玲的feel。

但矛盾的是，本片强调男主对自然和人群的热爱，甚至不正常的依恋，却没有准确给出男主角为何害怕孤独的展示。

绝大部分关于娱乐圈和人物传记的结尾都是悲剧收场或喜忧参半不是没有原因的，音乐大师没有让人看到这位音乐家人生为何值得领出来演，是足够悲剧吗？

是足够戏剧化吗？

是在音乐上做了什么了不得的革新吗？

没有，只是一个天才将就地过了一个不错的婚姻生活，人生偶尔有悲伤，但他还是赢了大多数人，而且在天才之列来说幸福得不行。

Cooper作为一名演员并不差，但在编导上有太多的不尽人意，而这一部是高超的运镜和转场都无法掩盖剧本上情绪重点含糊的缺点。

似乎演员转做导演都有一种，觉得自己能凌驾剧本重点之上，一场戏无限延长节奏和添加情绪的层次。

但是节奏和层次有上限，曝露太想拿奖的吃相有些庸俗了。

在伯恩斯坦大师执棒的nyphil演出场馆北美首映，伯恩斯坦的子女到场并且给我们介绍了影片，意义非凡。

男女主的表演非常喜欢尤其女主演的太棒了，现场杜比音响效果绝赞，音乐听的好爽。

故事没有聚焦大师伟大的音乐生涯而是把目光放在家庭生活上。

可惜感觉故事有些散稍微有点流水，不过全程还是聚精会神，值得一看。

What I was not expecting was this collosal, stupyfingly disappointing shell of a movie. Rather than try to tell coherent story or reveal some information about a somewhat overlooked but important figure, the creator behind this dismal effort--and that would be Bradley Cooper himself--decided to give us a turgid arrangement of seemingly random, uninteresting scenes that ultimately had nothing of interest to say about the character portrayed. Sure, it had the veneer of being technically polished, with lots of aging makeup in play and actors--Bradly especially--amping up their performances to Oscar-worthy levels. But there was no story, and even worse, no sense of engagement with the primary characters.It's like the camera set ups were deliberately planned to make the actors seem as remote and off kilter as possible. The events were random, the dialogue empty, banal and uninformative, the accompanying music frequently distracting.Overall, it was just such a "look at me, act, direct and write" vanity piece for Bradley Cooper that said far more about him, and his outsized ego, than it did about the long deceased and sadly overlooked subject that the film purports to be about.Maestro is a textbook example of style over substance, vanity over generosity, pretentiousness over authenticity, cinematic form over narrative function.

影片的叙事方式传统而线性，通过一系列的事件和转折，逐步展现了伯恩斯坦的艺术成就和个人生活。

这种叙事方式虽然略显平淡，但结构完整，能够让观众清晰地了解伯恩斯坦的生平事迹。

同时，影片在情感层面的挖掘也颇为深入，特别是伯恩斯坦与费利西亚之间的爱情、信任、矛盾和分歧，都展现得淋漓尽致。

在角色塑造方面，布莱德利·库珀精彩地诠释了伯恩斯坦这一角色，他精准地捕捉并再现了这位音乐天才内心潜藏的偶尔冷酷与深深的苦闷情绪。

而费利西亚这一角色则由凯瑞·穆里根饰演，她赋予了这个角色坚韧而不凡的生命力，让观众看到了一个在家庭与爱情前线默默坚守的女性形象。

影片的音乐场景无疑是最大的亮点之一。

库珀为了还原伯恩斯坦指挥马勒《第二交响曲：复活》这一传奇演出，坚持实景实时拍摄，并亲自指挥乐队。

这一场景不仅展现了库珀对音乐的热爱和执着，也让观众感受到了伯恩斯坦作为指挥家的非凡才华。

此外，影片中的其他音乐场景也同样精彩，让观众在欣赏电影的同时，也享受了一场音乐盛宴。

然而，影片也存在一些不足之处。

首先，在对伯恩斯坦内心世界的挖掘上，影片显得有些浅尝辄止。

尽管影片展现了伯恩斯坦在爱情、事业和同性情感之间的挣扎和矛盾，但对这些情感的深入挖掘和呈现却不够充分。

其次，影片在表现伯恩斯坦的音乐创作和指挥生涯时，也显得有些片面和浮光掠影。

观众虽然能够感受到伯恩斯坦的音乐才华和指挥风格，但对他作为作曲家和指挥家的双重身份以及他在音乐创作上的贡献却了解得不够深入。

总的来说，《音乐大师》是一部值得一看的电影。

它通过细腻的情感描绘和震撼的音乐场景，为观众呈现了一个音乐天才的传奇人生。

虽然影片在挖掘伯恩斯坦内心世界和展现其音乐创作方面存在一些不足，但整体上仍然是一部具有观赏价值和艺术价值的传记片。

对于喜欢音乐和传记题材的观众来说，这部电影无疑是一个不错的选择。

本片在名义上是美国传奇音乐家伦纳德·伯恩斯坦的传记片，不过，本片几乎没有展现作为音乐家的伯恩斯坦在音乐领域取得的成就，而是将故事的重点聚焦于作为同性恋或双性恋的伯恩斯坦的情感生活，这样的内容安排倒也不是不可以，但是，整部影片却给人一种不知所云的感觉，而且看得人精疲力尽，更糟糕的是，观众们在看完本片之后仍然不太清楚伯恩斯坦是个怎样的音乐大师（Maestro），也并未觉得对伯恩斯坦有了深入的了解，电影中的伯恩斯坦能够给观众留下的最深刻的印象恐怕就是他烟不离手，几乎一直在抽烟，与此同时，我们也不知道布莱德利·库珀导演为什么要拍这部电影，不知道他想要通过这部电影表达什么，难道是想说虽然伦纳德·伯恩斯坦是同性恋，但是他的真爱依然是他的妻子吗？

除此之外，本片的画面形式也略显做作，本片的主体部分是方画幅，而开头和结尾却是正常的16:9的画幅，另一方面，本片的前三分之一（伦纳德·伯恩斯坦的青年时代）使用了黑白画面，但是后三分之二却变成了彩色画面，这种做法实在是有点刻意并且毫无意义，库珀导演有什么非这样做不可的理由吗？

The Paris Theater.The story felt incredibly flat. What is it this movie wants to talk about? The devotion of an artist? The sacrifice of a wife? The struggle of gay men? The failure of matrimony? You can’t have all of them. When you attempt so, everything falls flat, and you end up getting none. It is like four soups in one bowl, and they are not mixing. Such a disappointment!One star for the brilliant Lenny.One star for the concert scenes.One star for Cooper’s courage and efforts.

Leonard Berstein 传记片。

我们就像上了发条的一对，尽情地在时间的田野旋转，等待着结束。

画幅与色彩随着时间推移而变化（exactly overused in films these years)Black and white, symphonic and fixed camera close-ups reminds me of Fellini, while amounts of landscape and ethic narratives of ethics reminds of Rohmer.一度认为是歌舞版千年女优，由于莫名其妙的舞蹈与刻意老套的切镜。

同性亲密行为、恋父、同性恋异性恋持有的赤裸男权。

（i do into the scene two man touching foot and smoking）美国二代俄国移民关于名字的困境，但单薄。

“i have sleep with both your parents...” “lonely old queen...”could you guys stop arguing dramatically like this?It's not wrong to be unwilling to face up to your sexuality and selfidentity, but it's very selfish to deliberately reveal and dwell on it in front of your family over and over again. actually this film even kind of stigmatises bisexuality in a way that I can't stand...but, it's obviously the woman is also have a weird mental world who tried to enticing a gay at the first time they met and supposed to a slave of his husband the whole life.honestly, the romantic episode is really gross... i see a selfish and insensitive man with his cancer wife. the way you guys spit and cry is too meticulous to admire your acts. btw i really love your house and scenery outside the window, the forest i wanna live in the rest of my life.如果要讲个人成就，请give audiences more details about it；如果要讲私人生活，也请不要把情节堆砌的cliche看做是一个成熟的叙事结构。

事实证明，两者完成度都很差。

可惜，浪费镜头。

首先我觉得这部片子挺好的，很艺术，而且感觉也讲得挺明白的。

我个人认为的重点不是纠结在lenny是同性恋还是异性恋上，也不是Lenny和Felicia的婚姻上，而是Lenny个人对于稀有的追求。

我认为他们的婚姻是开放式的，这是两个人早就同意的事情（结婚前），所以中间出现的Tommy对于Lenny来说不是出轨，这也不是他们婚姻的矛盾点。

真正的矛盾点应该是Felicia所说的“恨和愤怒”。

在Lenny的中年时期，他办party说自己创造的作品不够，这是对自己的不满意，他也时常觉得很抑郁，特别伤心，这种伤心让他没办法创作，（Felicia说的“summer doesn’t sing in him”）。

这都是他对自己的不满意所造成的，他的野心和雄心壮志可以让他同时成为很棒的指挥家和作曲家，但是同时也让他更加不满意，对于自己追逐的目标感觉不够，有更多想完成的事情。

这种情绪也让他逐渐忽视了家里面爱他的人，他的孩子，妻子。

所以Felicia会说他的责任不够并且Lenny自己给自己的压力让他们都觉得很累。

但是这种对于世界的不满意，一种愤世嫉俗，hate，都是激励他创造的动力。

还有一部分的hate也是来自于感觉不够自由，不完全是社会对同性恋的接受度，应该还有一部分是他希望所有人都喜欢他的才华，都欣赏他，但是很多人都是嫉妒他的，甚至想害他。

他感觉不够自由。

后来Felicia的离开让他意识到的事情是他没有办法真的很自由的活着，即使是没有了异性恋的对象，他对自己的不满意是不能完全消除的，社会给他的压力就更不可能了，他的恨意根本就没有被消除，而且他之前的发泄也是错误的，很伤害人的行为。

并且家庭这个已经成为他人生中不可分割的部分了，他没办法完全抛弃，他是真的很爱他的孩子们，愿意做出这个牺牲与退让，把事业的一部分奉献给家庭。

所以后来电影中给了很长的镜头展现他指挥的一场交响曲（我对音乐什么都不懂，没有办法分析出任何东西），Lenny的神情是投入，专注，狂热的，他好像又找回了他的summer，这种热情与发自内心的骄傲和满意是他对自己的和解，他和自己的野心终于达成了平衡，这也是Felicia又和他在一起，的原因，他没有hate了。

电影结尾处，他和他的学生暧昧，并且说自己找回了summer，虽然和以前比不是那么热烈，但是足够支撑他继续纯粹的活着，热爱音乐和他的作品所展现的就是这个主题，不是被野心支配的自由，而是在自由的创作中展现了野心。

On paper, MAESTRO, Bradley Cooper’s second feature film with him sitting in the director’s chair, is a paradigm of Oscar bait, a biography about an illustrious public figure, American composer and conductor, Leonard Bernstein (1918-1990).It sounds like the role he is destined to play, reportedly expending over six years to simulate Bernstein’ virtuosic conducting mannerism and flourishes, Cooper is also shored up by a transmogrified make-up and prosthetic artifice to physically morph into the maestro with an uncanny resemblance. Politicly, Cooper (who also co-writes the script) munificently allots the limelight to Felicia Montealegre (1922-1978), Bernstein’s wife, exquisitely played by Mulligan. Most of the time, MAESTRO is a two-hander, audience gets invested with their conjugal bliss and snags in equal measure, while the conductor’s notorious bisexuality recedes into a simmering undertow.Shot first in a light blue-tinged monochromatic palette, the first 45 minutes of MAESTRO (save for the opening scene of Lenny in full geriatric makeup before an unseen interviewer) cruises through Lenny’s meteoric rising and intoxicating romance with Felicia - its faintly off-color ambience often takes audience out of reality into an illusive world (thinking of the faux-long take bringing Lenny from his bedroom to the auditorium in the beginning of his story, a showing-off ploy which also betrays its glaring artificiality). After that the film is saturated in retro-reflected color-ways, and DP Matthew Libatique’s alluring cinematography is indeed a treat for the eyes, and the film nails its period-look to a fare-thee-well, an Oscar for Best Make-up is a shoo-in.So, the question is, what is not to like about MAESTRO, apart from the fact that we have seen such tailor-made, Oscar-soliciting projects ad nauseam? Many of which have succeeded, talking about male actors like Will Smith, Gary Oldman, Eddie Redmayne and Rami Malek, just in recent years. One certainly cannot blame Cooper for wearing his heart in his sleeve after being nominated for 9 Oscars, 4 of which for his acting, and still holds a goose egg. By my lights, the weak link is the script, whose preference of Lenny and Felicia’s tabloid matrimonial ups-and-downs over his extraordinary career takes the shine off Cooper’s passion project. Audience is only permitted with glimpses of his achievements and when all is said and done, who is Leonard Bernstein and what makes him a maestro, we are none the wiser.That doesn’t mean Cooper gives a lousy performance, at least in those eyes of the uninitiated. His commitment and ardor can be incandescently felt, albeit his high-pitched voice sounds rather grating and one cannot help but see the self-conscious fervor in his eyes whenever a prolonged close-up crops up, it is both distracting and self-revealing of his determination to net that holy grail, which almost becomes endearing. The centerpiece of reenacting the iconic performance where Lenny conducts Mahler’s Resurrection Symphony at Ely Cathedral, England is a revelation both in imitation and directing. Only side by side with Cate Blanchett’s wiggy, trenchant, sensationally butch tour de force in Todd Field’s TÁR (2022), Cooper’s effort unfortunately pales in comparison. Which prompts Yours Truly to ponder, perhaps, only those who are well-versed in Bernstein’s life and works can truly assess Cooper’s incarnation. But a general impression is that his Bernstein remains cagey and inscrutable, gregarious but without self disclosure. Perhaps, Cooper is too in awe of his subject to conduct a character’s self examination.Conversely, Mulligan’s performance feels more organic and relatable, a long-suffered wife is a hackneyed role a priori, which she dives into with all her might. Felicia learns a hard lesson that she cannot have the cake and eat it too, and comes to terms with her privilege and entitlement (she is his “muse” and his love for her seems genuine) and the missing piece which Lenny can never give her (turning a blind eye on his dalliances with men). Mulligan is a dynamo of intensity and pathos, a magnificent force that elevates even the most tired scenario and thus becomes the heart and soul of the film, it is only natural when she bows out, MAESTRO also edges toward its coda.For all the herculean endeavor and superb craft from its cast and crew, MAESTRO still looks like a missed opportunity, an overwrought biopic clutched in the thrall of its prestigious subject (treading between a hagiography and a scandalized truth-seeker, the outcome is a somewhat fuzzy figure), and incidentally, a testimonial that Cooper the director gets an upper hand over Cooper the actor, which might not be exactly what audience and Cooper himself have expected!referential entries: Cooper’s A STAR IS BORN (2018, 7.7/10); Steven Soderbergh’s BEHIND THE CANDELABRA (2013, 7.1/10); Todd Field ’s TÁR (2022, 8.4/10).

Title: MaestroYear: 2023Country: USALanguage: EnglishGenre: Biography, Drama, RomanceDirector: Bradley CooperScreenwriters: Bradley Cooper, Josh SingerMusic: Leonard BernsteinCinematography: Matthew LibatiqueEditor: Michelle TesoroCast:Bradley CooperCarey MulliganSarah SilvermanMaya HawkeMatt BomerGideon GlickZachary BoothMiriam ShorVincenzo AmatoMichael UrieJosh HamiltonSam NivolaAlexa SwintonJordan DobsonScott EllisJune GableRating: 7.1/10