Bradley Cooper, who also served as writer and director, brought to life this biographical film about Leonard Bernstein, with Josh Singer (“Spotlight”) contributing to the script. Martin Scorsese and Steven Spielberg were involved in the production; Scorsese initially considered directing but ultimately stepped aside to focus on “The Irishman” after seeing “A Star is Born.” Bradley Cooper portrays Leonard Bernstein, a Jewish American conductor and composer (1918–1990), while Carey Mulligan plays Felicia Montealegre Bernstein. Felicia, a Jewish actress of Chilean descent (1922–1978), married Lenny in 1951—a socially convenient arrangement for the time. Bernstein had an impressive career spanning Broadway (“West Side Story” being among his works), Carnegie Hall, and the New York Philharmonic. He was also a dedicated teacher known for passionate presentations that revealed his deep love of music. He led a complex life, marked by both public acclaim and personal struggles including his sexuality. The film omits details such as Bernstein’s habit of smoking cigars, his wartime dismissal due to asthma, and his later development of emphysema, which ultimately contributed to his death from a heart attack related to a mesothelioma tumor. Felicia met Leonard at a party in 1946, and she became an important figure in his life, even with his sexual orientation, occasionally taking on a secondary role within their relationship. The film highlights key moments in Bernstein’s life through its visuals, with cinematography by Matthew Libatique (“A Star is Born,” “Pi,” “Fountain of Life,” “Mother!,” “Requiem for a Dream”) employing cinematic styles and formats reflective of the decades covered—from the 1940s to the 1990s. This includes transitions between high-contrast black and white, Academy ratio, and Technicolor eras, utilizing original equipment where possible. The film’s visual approach emphasizes dramatic impact through close-ups, dialogue, background details, and Bradley Cooper's performance as Bernstein, including a memorable church scene. The editing by Michelle Tesoro (“The Queen’s Gambit”) is well executed, and the soundtrack features exclusively works by Leonard Bernstein (whose potential for Academy Award nominations remains uncertain). The makeup and prosthetic work of Kazu Hiro are also noteworthy, realistically capturing both Bernstein's physical appearance and inner character. This film has the potential to be a streaming success, possibly earning Oscar recognition and further establishing streaming platforms as a legitimate artistic alternative to traditional cinema. Nominations in categories such as Best Actor, Best Supporting Actress, Best Cinematography, and Best Production seem likely. However, the movie could have explored the intimacy between Bernstein and Felicia more thoroughly, and it glosses over their activism on various causes. The narrative pacing feels disjointed at times, jumping to significant events without fully developing them—for example, Felicia’s death is depicted briefly through a child running into the backyard during the family's move. Overall, “Brit” is a strong biographical film and one of the year’s essential viewing experiences, earning a grade of 7.5 out of 10 or a B+, despite its minor shortcomings.

Source on TMDB