Leonard Bernstein was a significant man. But you wouldn’t know it from this film. Bradley Cooper’s labor of love makes Bernstein seem rather humdrum, and as the film progresses, Cooper certifies that reality, eventually discarding Bernstein’s story for that of his wife (Carey Mulligan).

Look, it is clear Cooper reveres Bernstein, but too much is too much. Think of when someone you know introduces you to someone they love. They are already in thrall, and they have explored every nook and cranny of their idol so, in your introduction, you don’t come to your appreciation organically, the way your friend did. You start with, “He is the greatest.” And then, after that, your friend just keeps saying, “Isn’t he? Told you!”

Here, Cooper is so entranced, he glosses over what makes Bernstein Bernstein – his music. Sure, there’s tons of scenes of Cooper directing with the panache and flourish of Bernstein, but Cooper is more interested in having mannerisms down pat than exploring why we’re here. Cooper’s meticulous impersonation cannot substitute character.

Worse, since Cooper has little interest in Bernstein’s craft, we focus on his domestic struggles, which are pedestrian, even for a famous man living a barely disguised double life. He is not denied his pleasures, nor is he punished for them. Rather, they create some marital strife. And that’s what we get to see until cancer closes the story out. No war time concert in Israel in 1948. No silly cocktail party for the Black Panthers (sent up so wonderfully by Tom Wolfe). No concerts after the assassinations of JFK and RFK. No philanthropy for AIDS as it decimated his profession (and killed his longtime lover Tom Cothran, for whom he left his wife). 

We learn very little about what Bernstein should be remembered for.  Hell, he could have been a periodontist.

A well shot chore. On Netflix.