Obviously made for the Academy to truly honor Bradley Cooper remarkable transformation into the hoity toity world of Leonard Bernstein. Yes, we know he is going to be great in this role. But sometimes when you surround yourself with Oscar level material and talent, it could seem like it's just fishing for the Little Gold dude.
This is what it felt like. Though, simultaneously...he's just good.
Actor turned directors don't always work. Especially virtuosos that started clownish and end up in the serious zone. Cooper is that guy. Following in the footsteps of Clint Eastwood rather than, say Charles Laughton. It felt like a natural transition for Cooper who seemed to fine tune his energies towards more serious endeavors outside of things like "The Hangover" flicks.
"Silver Linings Playbook" was the start.
And who are his mentors in directing if it weren't the top tier directors.... David O' Russell, Paul Thomas Anderson, Spielberg, Scorsese or Clint Eastwood himself.
What this film struggles with, is the interest level. A lot will go over modern audiences head. Simply because we only know him as the guy who did the music to "West Side Story" And even THAT is stretching it. Cooper doesn't focus his energy on that rather this "love" story of a woman who fell for a gay guy. This would've been interesting 30 years ago. Now, not as intriguing.
Carey Mulligan is the best thing in this movie. At times, she is very much a Katherine Hepburn North Atlantic phony. But when some of the veil of her pain rises to the surface, she drops the pleasantries and tells it like it is.
There is a moment during a Thanksgiving party where we see some of the best acting I've seen between two people. Dialogue is somewhat on the nose, but boy do they both play it to the hilt. It's phenomenal, the ability to get to a screaming match with the words actually meaning something. That is an accomplishment.
Things get slow when the self-indulgent conducting moment creeps in. Yes, we know Brad studied a long time to get Bernstein's mannerisms. Do we really have to see all of it?
Other things that bothered me... it still feels like a very cold movie. Aside from Mulligan, his entire family seems to have been plugged in as trope characters to get you more understanding of the guy. They don't add much. Perhaps that was attempting to be subtle. It felt like subterfuge.
This was Oscar bait in absolute.
This is what it felt like. Though, simultaneously...he's just good.
Actor turned directors don't always work. Especially virtuosos that started clownish and end up in the serious zone. Cooper is that guy. Following in the footsteps of Clint Eastwood rather than, say Charles Laughton. It felt like a natural transition for Cooper who seemed to fine tune his energies towards more serious endeavors outside of things like "The Hangover" flicks.
"Silver Linings Playbook" was the start.
And who are his mentors in directing if it weren't the top tier directors.... David O' Russell, Paul Thomas Anderson, Spielberg, Scorsese or Clint Eastwood himself.
What this film struggles with, is the interest level. A lot will go over modern audiences head. Simply because we only know him as the guy who did the music to "West Side Story" And even THAT is stretching it. Cooper doesn't focus his energy on that rather this "love" story of a woman who fell for a gay guy. This would've been interesting 30 years ago. Now, not as intriguing.
Carey Mulligan is the best thing in this movie. At times, she is very much a Katherine Hepburn North Atlantic phony. But when some of the veil of her pain rises to the surface, she drops the pleasantries and tells it like it is.
There is a moment during a Thanksgiving party where we see some of the best acting I've seen between two people. Dialogue is somewhat on the nose, but boy do they both play it to the hilt. It's phenomenal, the ability to get to a screaming match with the words actually meaning something. That is an accomplishment.
Things get slow when the self-indulgent conducting moment creeps in. Yes, we know Brad studied a long time to get Bernstein's mannerisms. Do we really have to see all of it?
Other things that bothered me... it still feels like a very cold movie. Aside from Mulligan, his entire family seems to have been plugged in as trope characters to get you more understanding of the guy. They don't add much. Perhaps that was attempting to be subtle. It felt like subterfuge.
This was Oscar bait in absolute.