"Maestro," directed and starred in by Bradley Cooper, is a cinematic portrayal of Leonard Bernstein's life, marked by its conventional biopic structure and linear storytelling. Despite its meticulous attention to detail and technical brilliance, the film struggles to delve deeply into the essence of its subject, ultimately feeling superficial despite its ambitious scope.

The film, co-written by Cooper and Josh Singer, traverses through Bernstein's life, capturing significant moments from his rise to fame to his final days. However, it succumbs to the typical biopic pitfall of trying to encompass too much, leading to a somewhat surface-level exploration of the iconic composer and conductor's life.

Despite these narrative challenges, "Maestro" is a visual feast. Its cinematography, costumes, and production design are evocative, transporting viewers through the different eras of Bernstein’s life. Cooper, as director, skillfully recreates the aesthetics of each period, from the black and white visuals of the 1940s to the Technicolor vibrancy of the 1960s and 70s. Matthew Libatique's cinematography and Michelle Tesoro's editing are particularly commendable, offering a cinematic experience that spans decades seamlessly.

One of the film's standout moments is Cooper’s portrayal of Bernstein conducting Mahler’s “Resurrection” Symphony No. 2. The scene, a result of Cooper's extensive preparation, is an immersive and detailed depiction that stands as a testament to the film's meticulous craftsmanship. Despite its streaming release on Netflix, this moment, along with the film's overall visual allure, makes "Maestro" a worthwhile theater experience.

While Bernstein's music pervades the film, including a creative use of “West Side Story” during a marital strife scene, the film falls short in capturing the depth of his character. His dual life as a closeted gay man and public figure is touched upon, but we remain distant from his internal world. Brief glimpses into his relationships, including scenes with Matt Bomer’s character, hint at deeper emotional layers but leave much to be desired.

The film also explores Bernstein's relationship with his wife, Felicia Montealegre, played by Carey Mulligan. While their chemistry is palpable, and Mulligan delivers a compelling performance, the film doesn't fully explore the complexities of their marriage. Felicia's character often remains in the background, both literally and figuratively, which is symbolized in a scene where she stands in Bernstein's shadow.

Controversy surrounds Cooper’s use of prosthetics to resemble Bernstein, particularly the prominent nose, raising questions about the portrayal of Jewish characters. Despite this, the makeup, particularly in Bernstein's later years, is impressively convincing.

Towards the film's end, an attempt to modernize the narrative with Bernstein driving to R.E.M.’s “It’s the End of the World as We Know It (And I Feel Fine)” feels forced and detracts from the film's historical authenticity. This moment exemplifies a missed opportunity for the film to take more creative risks.

"Maestro," while a technically impressive portrayal of Bernstein's life, is more of a grand spectacle than an intimate exploration of the maestro’s inner world. Cooper’s careful replication of Bernstein’s environment and era is commendable, yet the film would have benefited from a deeper, more nuanced approach to its central figure.