The cinematic journey unfolds with an excerpt from Leonard Bernstein’s philosophy: “A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.” Transitioning to 1987, we witness Leonard, approaching 70, performing a contemporary piano piece at home, interspersed with interviews. Post-performance, he shares an intimate moment with Felicia, his wife.
A flashback to 1943 portrays Bernstein, aged 25, debuting as the substitute conductor for the New York Philharmonic due to Bruno Walter’s illness. Exceptional in this role, Bernstein enjoys a euphoric audience response. Simultaneously, he navigates a complex romantic relationship with clarinettist David Oppenheim until Felicia Montealegre, an aspiring actress, alters the course. Their relationship blossoms, leading to marriage and three children: Jamie, Alexander, and Nina.
In the mid-1950s, Leonard and Felicia live an opulent life, marked by Leonard’s successful operas and Broadway musicals. Despite hosting grand parties, concerns arise about Leonard’s homosexual affairs. Felicia staunchly defends their marriage, but over the years, Leonard’s extramarital liaisons, coupled with substance abuse, strain their bond. Jamie, their daughter, becomes aware of her father’s affairs, escalating tensions.
During a tumultuous Thanksgiving, Felicia confronts Leonard about the perceived hate in his heart. Despite the explosive argument, they remain married, enduring Leonard’s composition of Mass in 1971. In 1973, Bernstein conducts Mahler’s Resurrection Symphony at Ely Cathedral, prompting a reconciliation with Felicia. However, her later diagnosis of lung cancer leads to a heartbreaking demise in Leonard’s arms in 1978.
Overwhelmed by grief, Leonard and the children abandon their extravagant home. In 1987, we find Bernstein teaching conducting, indulging in a party lifestyle, and engaging in affairs with younger male students. In a poignant interview conclusion, Bernstein confesses his profound longing for Felicia, reminiscing about their youthful days.
* * *
[“Postlude from Act 1” playing on piano]
[sighs]
It’s always better on the piano, I don’t know why. [sniffles]
So to… answer your question, yes, I carry her around with me quite a bit.
I’ve often seen her in the garden working.
Julia Vega swears that she’s at the top of the stairs every morning when she comes down to do the laundry, making sure she’s separating the whites and the darks.
And our children are very jealous because they’ve never seen her.
I… I… I miss her terribly.
[phone ringing]
[Leonard] Hello?
Yes.
[clears throat]
Of course.
Yes, I’m aware.
Oh.
Can you hold on one second, please?
[breathing heavily]
[lighter clinks]
That’s terrible news. Is he gonna be okay?
No, I understand.
And no chance for a rehearsal?
Yes.
All right.
May I get three tickets for today?
[chuckles] Yes.
All right.
All right, yes, thank you.
[receiver clicks]
[breathing heavily]
[Symphonic Suite from “On the Waterfront” playing]
You got ’em, boy!
[music crescendos]
Leonard, bellissimo.
Oh, yes.
Did you get any sleep?
No, I didn’t get any sleep, Bruno. “Manfred” starts on the downbeat rest, and you didn’t get me any rehearsal with the orchestra.
I told you you were going on.
No, you told me it was a possibility.
[announcer] Good afternoon.
United States Rubber Company again invites you to Carnegie Hall, to hear a concert of the New York Philharmonic Symphony Orchestra of which Artur Rodziński is musical director.
Bruno Walter, who was to have conducted this afternoon, is ill, and his place will be taken by the young American-born assistant conductor of the Philharmonic Symphony, Leonard Bernstein.
[audience applauding]
[breathes deeply]
[orchestra playing “Manfred Op. 115 Overture”]
Today, you were here for an historic performance.
This performance that was fantastic was broadcast all over the world.
And I feel obliged to say that Maestro Bernstein was called this morning at 9:30 and he was told that he would actually conduct here for the first time after many years…
Without rehearsal.
Without rehearsal.
[crowd laughing]
But he loves the music, he doesn’t need rehearsal, he feels it so much.
And after many years, he really wanted this, it has happened and I’m so proud.
Carnegie Hall is so proud of you and New York is proud of you.
Leonard Bernstein.
[all applauding]
Thank you. Thank you. Thank you.
I’ll tell you fellas, I don’t remember a thing after that downbeat rest.
I must’ve blacked out and then when the audience applauded I came to.
Don’t let this get in the way. We’re on a roll here, baby.
I wanna choreograph the segment with the dancers while in Cincinnati.
Jerry, I’m in love with the music. I told you.
As soon as I have something, I’ll record and send it to you.
This the new ballet he’s composing?
About three sailors on leave in New York getting up to no good?
That’s the one.
Don’t argue with him.
He’s a young man to be reckoned with. You can read it here.
David, please.
“Bernstein shows mastery of score.”
“Youthful conductor carries out an exacting program…”
Sure, right next to Hitler’s bombing of Poland.
[knock on door]
Come on in, it’s open.
Sorry, gentlemen…
No, no, he likes leaving the door open.
Hey, Isaac, you know David and that’s Jerry Robbins.
Hi.
Hello. We’ve got to get downstairs.
You’re an hour late…
I’m just working on the score…
Rodziński’s coming early…
Rodziński’s here?
Okay, I’ll be down in a second.
Isaac.
Don’t forget your show pony here is a composer.
[“Fancy Free Galop” playing]
I’m learning not to do it so hard, right?
It’s perfect.
I always get so… overzealous.
I get too excited.
Right.
Both your feet in my lap. I don’t know what to do with it.
I don’t know what to do with myself. It’s just too much.
I think… It’s too much for one man.
Because it was on the liver spot?
No.
It’s too much for one man to take. Honestly, David.
I mean, I’ll never leave the apartment.
That’s the reality.
Please don’t.
Dear Jerry, this is an impromptu apology for the record which isn’t so very bad, but it’s not so very good either.
I’m looking through the score now, exhausted, and everything’s okay up to number three when all the counterpoint comes in with the two pianos.
I’m afraid it’s sort of messy there.
Anyway, it’s hard to do on two pianos, so with an orchestra, I think it’ll be very clear.
And pardon all the mistakes.
But it was all Aaron Copland’s fault. [chuckles]
[Aaron] It was all my fault.
And there he sits now.
[Aaron] That’s not true.
Anyway…
I’ll leave it to you to figure out, Mr. Robbins, how to dance to this type of music, but,
give my love to everybody and the thing, and, uh… [chuckles]
I hope you like it. Good luck, Jerry.
All right, got to get to rehearsal.
I got it.
You do?
Yeah.
You’re such a chap.
It’s downstairs and you’re still going to be late.
Put in a word for me with Rodziński.
I will. I’m not his favorite, but I will.
Love you, baby.
Love you.
[“Lonely Town Pas de deux” playing]
[“I Get Carried Away” by Adolph Green and Betty Comden playing]
♪ I try hard to stay controlled ♪
♪ But I get carried away ♪
♪ Try to act aloof and cold ♪
♪ But I get carried away ♪
♪ Carried away ♪
♪ Carried away You get carried, just carried away! ♪
♪ And when I go to see A moving picture show ♪
♪ And I’m watching actors in a scene ♪
♪ I start to think What’s happening is really so ♪
♪ The girl, I must protect her ♪
♪ The villain don’t respect her ♪
♪ I leap to her defense ♪
♪ And knock a hole Right through the screen! ♪
♪ Carried away, carried away ♪
♪ He gets carried ♪
♪ We get carried ♪
♪ Just carried away! ♪
[all applauding]
Brilliant, but… but what no one here knows is how he beat the soprano out of his poor baby sister performing all those operas when we were children.
Let that be fair warning to you and to everyone.
Hello.
Thought you might be here. You’ve certainly been making the rounds.
Have you met the gang?
No.
Betty and Adolf, they’re a riot.
Hello.
Hello.
Ellen. Of course, you’ve run into her at another studio, no doubt.
Hello, Felicia.
Who did I miss? Have I missed anyone?
Just the piano player.
[Shirley] Well, I figured you needed no introduction.
Hello. I’m Lenny.
Hello. Felicia.
Bernstein, like that one.
Montealegre.
Montealegre?
Montealegre Cohn.
Cohn?
Montealegre Cohn.
Well, that’s an interesting marriage of words.
[“You’ve Got That Look” by Friedrich Hollaender playing]
♪ You’ve got that look ♪
♪ That look that leaves me weak ♪
♪ You with your Eyes across the table technique ♪
You come from an aristocratic European family on your mother’s side, and your father is American and he’s Jewish and you moved to Chile because…
It’s amazing, I remember all this.
I know.
I don’t know how.
You moved to Chile because of your father’s business.
And now you’re firmly planted in New York City studying… piano, but you’re actually studying acting.
A career which demands the versatility to play a panoply of characters.
And that is my conclusion, that you, my dear, are very similar to me.
How?
Because you had to take all the pieces, all the bits of you scattered across these varied landscapes and form, create the veritable person that stands before me now.
How is that similar?
You just asked me and I told you.
I know. Okay.
Russian Orthodox Jew.
Growing up in Boston.
Oh, someone else was listening.
Child of immigrants.
Yes.
Your father’s a self-made businessman.
Steeped in Talmud. Harvard.
Then Curtis School for Music…
Institute.
Institute of Music in Philadelphia.
Now firmly planted here in New York City pursuing composition and conducting.
Under the guise of a concert pianist drawn to this artistic Mecca, fleeing my puritanical origins just like you.
Surely your family was a tad more supportive.
My father imagined me a klezmer, playing for kopecks on the street corner, desperate for me to join the family business to make a living.
What was the family business?
Samuel J. Bernstein Hair Company.
[laughing]
Really?
Yes.
So I had no choice but to become a composite of adopted speech, manner and outlook on life,a composite, which enables me to be many things at once.
And that’s why, we, you and I, are able to endure and survive ’cause the world wants us to be only one thing and I find that deplorable.
I find you very attractive, Felicia.
♪ Carried away, carried away ♪
♪ You got carried away ♪
It’s really too much. I’m very sorry.
Wait! Wait!
[“Trouble in Tahiti” playing]
Go! Go! Go!
Oh, I like that.
You’ve a lot of energy, have to tell you.
I’m just following you. I don’t know where.
I’ve never been in this part of town.
I can’t imagine you being in a place like this.
Now, you go in here.
Okay.
Just on the stage… Take your shoes off.
Oh.
Okay. Where do I put them?
Over on the other side.
Where are you going?
I’m just getting the script.
The script?
Yes.
Would I have to act too?
What?
Do I have to do something?
Well… maybe.
Now I’m nervous.
You should be nervous.
Well, this is just lovely.
This is just lovely.
I’m going to read a scene with Maestro Bernstein.
I better make a show of myself.
Maestro Bernstein? That sounds very fancy.
Here.
Okay. We’re gonna read it.
We’re actually gonna do it.
Yes.
I’m the king?
You’re the king, and this is your castle.
Oh, wonderful.
Now, even though you are the king, you’re quite taken with me.
Yes.
So, you decided to give me a white rose from your crown.
Of course I did.
No, you don’t have it yet. I have to give it to you.
Here’s your flower.
I didn’t read the play.
I know.
Hold on.
Can you hold this for me, please? All right.
Since I’m the king… who’s in love.
A gift for me, my liege?
Oh, that’s very good.
It’s your line.
Oh, uh… “With your little spots of wax, white rose, you look like the extravagantly hands her the flower…”
No, no, no. [chuckles]
“You look like the eye… of a broken moon.”
[chuckles] You are terrible.
What’s your line?
“You’re always changing, my love.”
“I didn’t see you yesterday.”
“But I looked at your horse.”
“It’s so beautiful.”
“But not as beautiful as you are… because you are a dragon.”
“I believe you could break me in two with your arms, as weak as I am… like frost burned in the sun.”
[switch clicks]
[Joseph] That’s a bit better, isn’t it, Ms. Montealegre?
Little more light?
Why, thank you, Joseph.
Oh, Joseph, I apologize.
I got nervous. I thought it was a spider and I tried to kill it with my jacket.
Give the stage door a shove on your way out. It’ll lock on its own.
[Leonard] Thank you, Joseph.
[Felicia] Good night. Marvelous. Thank you, Joseph.
You didn’t tell me your father owns this place.
[Felicia laughs]
Is this how you lure in all your male suitors?
No, I… I rarely stay up past 9:00.
Hold on a sec. You made an exception for me?
I thought maybe you were worth making an exception for.
Oh, well, I hope it doesn’t cost you too much.
How can I make it worth your while? Oh, I’ve got it.
Something’s wrong.
What?
What’s your character’s name?
Um…
Margaret.
Margaret.
[both laugh]
Margaret.
Yes.
And you’re the understudy?
Yes.
I think you should be Margaret eight shows a week.
Front and center.
If it’s fear that’s stopping you…
There are many things stopping me but fear isn’t one of them.
I wouldn’t be standing here in front of you… I wouldn’t even be in New York City if fear got the better of me.
It’s just not that easy.
We’d be fools not to think that luck plays a part as well as talent and determination.
I’m a perfect example of that.
Oh, you must be joking.
If Bruno Walter hadn’t gotten sick that fateful day and Rodziński snowed in upstate, I never would’ve had my debut.
I’d be teaching piano to little eight-year-olds who complain…
If it wasn’t that day, it would’ve been another.
Is that what you think?
Yes, I know it.
Really?
Of course.
And don’t forget… you are a man.
I never do.
Right.
Oh, my God.
[“Paris Waltz (Candide)” playing]
[audience applauding]
Bravo!
You were marvelous.
Oh, my goodness. Shirley, it was very kind of you to come.
I brought Richard Hart and his wife, Lil.
No.
Dick is rehearsing his new Broadway show with Eva Gabor and he is not long for this marriage and, well, I think he is your type.
What type is that?
Same as mine, unavailable.
Marvelous.
[Felicia] Ah, ah…
It’s so kind of you to come.
I just love Dark of the Moon.
Oh, stop. You’re marvelous.
The production is better for you being in it.
It’s only for the week, but that’s kind of you to say.
If they had any sense, they’ll tell Ms. Jones to stay in bed.
You really are wonderful.
Dear.
Thank you, it’s so kind of you to come.
My pleasure.
Thank you.
Come have a bite with us.
Oh, I, uh…
I can’t, I’m catching the train to Tanglewood in the morning.
Tanglewood?
Mmm.
You’re going to see my brother.
Well, don’t look so surprised.
I’m not… I just…
He didn’t mention it.
Well…
Perhaps he was being discreet?
My brother?
I doubt it.
[Felicia] No, try again.
Oh, gee, it’s six.
[Felicia] No!
Eight.
Terrible.
It’s four…
No.
Three.
Well, it has to be seven then.
Can you try to just concentrate?
Maybe I should stop and think for a second.
You just stop and think ’cause I am sending it to you right now.
Twenty.
No.
[both laugh]
No.
So, how long do we have to do this for?
Well, we need to build up a very strong connection.
I can’t. I don’t know what you’re doing.
Hmm?
You could be building a bomb back there for all I know.
No.
I’m just very terribly relaxed.
Blow the whole place up.
Aren’t you?
Yes, I am.
Are you?
Yes.
I’ve never seen you sit still for so long.
Are you itching to move?
No, I’m not.
Good.
Actually, at all.
[“Facsimile” by Leonard Bernstein playing]
Come here, I’ll do it.
My goodness.
I’m useless, aren’t I?
You are.
Where am I going?
Here, stand there. Not this one.
Okay.
Not.
Oh, why not?
Well… a bit garish maybe?
Doesn’t look bumbling so much.
I like this.
I love your smell.
You do?
I do.
It’s my father.
Isn’t that odd?
I used to just love… wrapping myself up in his trench coat, when he would walk in the door at night from work…
That smell would intoxicate me.
I always associated it with feeling safe.
[Kouss] She’s so beautiful. Tell me about her.
She’s wonderful. She’s a lovely girl.
Yes.
And we’re just…
Where did you meet?
We met at a party at Claudio Arrau’s.
Ah.
So, Felicia, are you an actress?
[Leonard] Marvelous actress, yes.
No, I am.
[Leonard] Of course you are.
No, I am.
Unbelievably, I am.
He is not.
No, horrible.
No, I am.
Screen tested once in LA and it was horrible.
Terrible actor.
They sent me to Hollywood and put me on camera and said, “Thank you, here’s a one-way ticket back to New York City.”
[Felicia] Oh, no.
“Oh, no” is right.
He was a student here at our inaugural summer and now… he’s everyone’s favorite teacher and you can’t even get into the shed when he’s conducting the student orchestra because it’s so full.
It’s only because I love them so much.
[Aaron] And they love you.
[Kouss] Tell me what happened with the Rochester Philharmonic.
Oh, they passed me over.
[Kouss] Yes, I know.
They thought I was spending too much time with you in Boston.
Is that the reason?
I believe it was.
[Aaron] We should really discuss “Our Town” if you have…
[Kouss] Running off to Hollywood?
Wasting time on musical theater…
I promise,
I’m giving up musical theater.
Lenny, you are responsible on account of your gifts.
He can be the first great American conductor.
[Olga and Kouss speaking Russian]
[in English] But he would have to conduct his life in such a way that when he comes out on stage to lead his orchestra, he can truthfully say to himself, “My life and my work are clean.”
[Olga and Kouss speaking Russian]
[in English] And the name…
To a Bernstein, they will never give an orchestra.
But a Burns?
Leonard S. Burns.
I’d have to sleep on that.
I used to entertain people on the train going back and forth to Moscow.
And upon every arrival, I had to return straightaway because, of course, as Jews, we weren’t allowed to live there.
I never saw the city.
Not once.
But I got to play.
[speaking Russian]
[in English] I want to see them.
See what?
All the things Maestro Koussevitsky wants you to give up.
All the music you’ve made.
You do? We can’t just leave.
Yes.
Oh, yes, we can.
[“Fancy Free: I. Enter Three Sailors” by Leonard Bernstein playing]
Unbelievable.
Why would you ever want to give this up?
It’s so wonderful.
It’s not serious music, is it?
Well, what does that mean?
Well, it means… he thinks I could be the first great American conductor.
Is that what you want?
I want a lot of things.
[“Three Dance Variations” by Leonard Bernstein playing]
[snaps fingers]
[“New York, New York” by Leonard Bernstein playing]
♪ New York, New York! ♪
♪ It’s a hell of a town! ♪
[Felicia] How do you feel?
[softly] I think it’s better.
Is it okay if I put my head like this?
[clears throat]
It’s terribly embarrassing.
No.
No.
It’s as if I don’t…
If I just don’t breathe, I’ll be fine.
Just… No.
It happens every time.
Every time what?
What do you mean?
Every time I go to bed that I’m not used to.
Oh, I see.
Well, you implied.
Well, I don’t know what you meant.
I was just…
Oh, goodness.
It’s the lower spine…
Do you take any pills or anything?
I take plenty of pills.
No, I mean, sure you do, but, I mean, specifically for this.
[groans, exhales]
Oh, dear. I’m sorry.
Hmm.
You poor thing.
That’s much better, being on the floor.
Yes.
Much better. Thank you. It’s a great idea.
You set it all up with the pillows.
You really do take care of me.
I wanted to make you comfortable.
I have a game we can play. Envy and Secrets.
You know that game?
No.
We both tell each other a secret, then we tell each other something that we’re envious of and then we become closer.
But I feel pretty close already.
You certainly seem closer than 20 minutes ago.
Okay.
I saw different sides of you that I’ve only sort of dreamt about.
Oh, goodness.
Okay.
You go first.
Do you wanna say something you’re envious of or something that’s a secret?
Tell me a secret.
Oh, I’m gonna tell you a secret?
Yes.
Did I just ash on you…
No.
Okay.
Well, when I was a boy…
[Felicia] Mmm.
…I used to have dreams where I would kill my father.
And the thing of it is, I would wake up from the dream and I’d sit in bed… and I would just fantasize about it… ’cause he was so cruel.
Sometimes I just can’t…
Can’t seem to find myself.
Well… I agree, by the way.
About what?
About the name.
Felicia Burns.
It has absolutely no luster.
I mean, it just sounds wrong.
Well, your sound soothes me… God.
Does it?
I actually envy the air that gets to funnel its way through you.
Out of my mouth, I hope.
Well, any which way, actually.
No.
I never thought of it like that.
But it would definitely be some tonal pitch variations if it came out the other end, wouldn’t it?
Just as pleasing, I assume.
Am I shaking?
You’re disgusting. Yes.
Those eyes…
You don’t even know how much you need me, do you?
I might.
Sweetie, that was better than Philadelphia.
Really?
It took everything from me not to leap right into the orchestra.
You’re too kind.
Did I tell you about the girl? The girl that I wrote letters… Felicia.
The one I wrote about.
Yes, yes.
This is David and he plays the clarinet. What else does he…
I play the clarinet.
[Felicia] I can see.
And he’s extraordinary.
Yes.
Oh, well, I was listening, you were wonderful.
You as well. Broadway star.
Oh, no.
[Leonard] We’re gonna have lunch with Kouss, otherwise we’d…
What about later? Have a drink or something?
I would love that, yeah.
I didn’t mean to spring that on you.
No, that’s all right.
Maybe that was insensitive of me.
No.
Not at all.
So, we’ll see you later on.
Yes.
Okay, let’s go. Come on. Come on, little birdy!
Lovely to meet you.
[Felicia] Lovely to meet you.
[“For Felicia Montealegre” by Leonard Bernstein playing]
Oh, life is not that serious. Honest, it isn’t.
What age are we living in? One can be as free as one likes without guilt or confession. Please, what’s the harm?
I know exactly who you are.
Let’s… give it a whirl.
Yes.
Yes?
I mean…
No!
Not here.
No, not here.
No, it’s not how I meant it to be.
[Edward] Leonard Bernstein is a composer, conductor and pianist.
His wife, Felicia Montealegre, is an actress.
Both lead full, professional lives, but they’re seldom apart.
Mr. Bernstein is 37 years old but he has been in the public eye for a dozen years.
From the time he substituted for Bruno Walter to conduct the Philharmonic Symphony at the age of 25, since then, Leonard Bernstein has conducted or played all over the world.
And he’s written symphonies, ballets, and opera, as well as scores for the Broadway musical Wonderful Town and the motion picture On the Waterfront.
Felicia Montealegre came to Broadway and American television from Santiago, Chile.
She was one of television’s first full-fledged dramatic stars.
The Bernsteins, Leonard, Felicia and their children, Jamie and two-months-old Alexander, live in New York City near Carnegie Hall and Broadway.
They’ve been here for about three years.
Good evening, Felicia.
Hello, Ed.
Good evening, Lenny.
How are you, Ed?
Good.
Lenny, it’s always, for me, rather difficult to classify you professionally since you do so many things at the same time.
What do you consider your primary occupation?
I guess I’d have to say that my primary occupation is musician.
Anything that has to do with music is my province, wouldn’t you say? Whether it’s composing it or conducting it, or teaching it, or studying it, or playing it.
As long as it’s music, I like it and I do it.
[Edward] Felicia, do you have trouble keeping up with Lenny’s activities?
It gets pretty hard. He’s taken on many activities.
This season promises to be a very hectic one.
Among them, he’s writing two musical shows.
One of them is an adaptation, Romeo and Juliet, that’s West Side Story with Jerry Robbins and Arthur Laurents and wonderfully-talented young lyricist Stevie Sondheim.
And then he’s doing four feature presentations in Omnibus, the CBS television program.
And, um…
Was that right?
You know my schedule better than I do.
[Edward] Felicia, what about you?
Are you engaged in other things besides acting?
Well, it gets pretty hard to do much more than take care of this household.
My husband, the children, and acting takes the rest of the time that’s left over.
And memorizing my projects.
Well… I can’t help that.
Lenny, what’s the big difference in the life of Composer Bernstein and Conductor Bernstein?
Well, I sup…
I suppose it’s a difference. It’s… a personality difference which occurs between any composer versus any… or any creator versus any performer.
Any performer, whether it’s Toscanini or Tallulah Bankhead, whoever it is, leads a kind of public life.
An extrovert life, if you will.
It’s an oversimplified word, but something like that.
Whereas a creative person, uh, sits alone in this great studio that you see here and writes all by himself and… communicates with the world in a very private way and… and lives a rather… grand inner life rather than a grand outer life.
And if you carry around both personalities…
I suppose that means you become a schizophrenic and that’s the end of it.
[Edward] Felicia, you must be interested in music too, aren’t you?
[“To What You Said” by Leonard Bernstein playing]
[Jamie] Daddy.
Daddy!
Catch!
[Leonard chuckles]
Well, I love you too, darling.
So much. Thank you.
Well, hello, children of Zeus!
My man!
Hello, Lenny.
Hello.
What a lovely surprise.
That’s why I love New York City.
Come out of your apartment and all of sudden you just run into people that you love.
I’m going downtown. Oh.
[David] So am I.
[Ellen] Well, we’re cutting across the park to go to Saks before the deluge.
Who are you? Hello. Hello.
Hello, you’re so beautiful. You’re so precious.
Can I tell you a secret?
Do you know I slept with both your parents?
Too much, isn’t it? Too much.
I love too much, what can I say? But I’m reining it in.
I’m reining it in!
See those people across the avenue staring at us?
Saying, “It can’t be him. He’s much better-looking on television.”
“Certainly has Leonard Bernstein’s ears though, doesn’t he?”
“Can that be him? Is that possible?”
How embarrassing. We don’t even have silverware.
Here.
Oh, I’m sorry, darling.
What’s wrong with the silverware? We don’t need it.
I ordered the Chinese food, remember?
The problem is we need those fucking curtains so I can sleep.
Walk around like a zombie.
Scare all our children.
Do we have children in this house?
We do.
I don’t know how the Bergs do it. Three children.
Three! I know, it’s unbelievable. Unreasonable.
Alex doesn’t make any noise. I think we’ll be fine.
No, for now.
Sleeps all day.
Alexander, our sleeping little baby.
He won’t sleep for long.
It’s like he isn’t even real.
No.
Dream baby.
I’m sad, darling, and I don’t know why.
Darling, you’re so tired. You just need to sleep.
Yes.
Summer sang in me a little while, it sings in me no more.
Edna St. Vincent Millay.
If the summer doesn’t sing in you, then nothing sings in you.
And if nothing sings in you, then you can’t make music.
There’s a price for being in my brother’s orbit, you know that.
As much as he’d love to believe the opposite is true.
[Felicia] I suppose I do understand what you mean.
Well, it’s very strange, but I… I do believe there is that in everybody.
One wishes to make adjustments to oneself.
[Leonard] This way.
But…
having this imposition of a strong personality, it’s like a way of death.
Really.
Yet the moment I see that that is making him suffer, well, I realize it’s not worth it.
No. What for? It isn’t going to kill me.
If it was going to give him pleasure or stop him from suffering and it’s in my power to do it then what the hell?
But one has to do it completely without sacrifice.
And if there’s going to be a sacrifice, then I disappear.
Good?
Oh! [laughs]
That time, that time really was good!
[“St. Louis Blues” by W.C. Handy playing]
[“Adagietto” by Gustav Mahler playing]
[music crescendos]
[audience applauding]
[music fades]
[Mendy] Wicker!
Oh, my God!
[Mendy] White antique wicker with Pierre Deux cushions.
[Felicia] I love it.
It will give it that whimsical, Victorian conservatory look.
[Felicia] So you want to lock me up in a glass cage like some sort of exotic bird.
I’m surrounded by men and it feels so right.
They are really better.
I think Felicia is… I don’t know… I just can’t make heads or tails of her.
She’s fine. She’s just, you know, I mean…
Are you all right? Do you need to get a towel or something?
Julia! Julia! Julia!
I think we need a towel.
It’s that you’re so distracted all the time.
I’m going to go take a big dump.
Okay, wonderful.
Oh, my God.
Has Daddy mentioned anything about Harry and Amberson this summer?
No.
Oh, Harry’s offering me a job at Amberson this summer.
What do you think?
What does Daddy say?
Daddy thinks it’s a great idea.
Then I think it’s great.
So I have your blessing?
Yes.
Thank you. Bye.
I love you. Bye.
[Cynthia] She looks so grown up.
[Felicia] Looks can be deceiving.
I got the go ahead.
[chuckles]
Thank you so much.
Be really good at this. Be really good.
So happy.
You’re intimidating me. I’ll try my best.
I just got trampled on in my own house.
Come here. I want you to meet a few people.
This guy almost trampled all over me.
I was decapitated…
Listen to me…
I know, I’m tired, please…
This is Lenny.
Hello! How are you?
This is Charlie.
All my hands are taken.
You’re a big fellow. Grand man.
Jim.
You’re a huge fellow. Hello, Charlie.
Pleasure. How are you? Having a good time?
Lenny should be composing.
[Cynthia] Well…
No, Harry loves to play it on the side of him with the appearances and the recordings and… cookie-cutter boys.
You know, he’s not my favorite.
My favorite.
No, I know, he’s not my favorite.
Well… Well…
You’re taking it like a champ.
You are.
I would never know.
Handling it quite well.
Our little Joan of Arc.
Yes.
But remember what happened to Joan. Didn’t work out so well.
[Scott] So bored.
Hello, Scott.
Hello.
We don’t say that in our family. Felicia doesn’t like it.
In your family?
In my family.
Your family, Lenny?
[laughing]
[Harry] Okay, that’s enough.
We’ve been together for ten years.
Believe me, I know three of them.
I guess denial is not just a river in Egypt.
That was the crossword. Three letters.
Really?
Pun.
Yes, it is “pun”.
Yes, it is.
Did you do it Thursday?
Yes.
It’s quite easy, but…
Yeah.
Hello.
Hi, I’m Tommy.
Did you just appear out of my handkerchief?
I live here now.
Are you a genie?
I wish.
Do I get three wishes?
What’s your first wish? Hi.
My first wish.
Good luck. Bye, Tommy.
Sorry, I don’t even know if you…
It’s beautiful.
Oh, thank you.
Felicia puts it together.
She does a good job.
If I was left to my devices, I’d be dressed like a clown.
That’s the truth. Don’t tell anybody.
Mind if I smoke in the other room? Where do you live? Who are you?
I’m from San Francisco.
So you’re from Earth?
Originally, yes.
Your hair is glorious.
That’s sweet of you.
Listen, I have to go to the roof. I need some air.
Would you mind to come with me?
I’d love to.
That’s wonderful. Come here. Tommy, is it?
Toast of the party.
Belle of the ball.
The belle of the ball!
My God, are you kidding me?
Both at the same time. Somehow.
A highwire act. Toast bell. Toast bell.
Have you seen Lenny anywhere?
Do you want me to fetch him?
No, I don’t mind.
That’s what I’m saying, that I needed the turtleneck.
I needed the turtleneck, you know what I’m saying?
I mean, that’s the… As I break this fucking wall.
How will we solve this problem?
I don’t know what to do.
I’m worried about it. We have to figure it out.
Well, don’t they… Do your listeners know what you look like?
The problem is you’re in radio, you need to be in television.
Stop.
You’re gorgeous. May I?
Darling, this is Tommy.
Everything okay?
It’s okay.
Darling.
Why don’t you go through here? It’s fine.
Darling.
No.
I’m so sorry. I’m so sorry.
Fix your hair. You’re getting sloppy.
Well, like it or not, this world is utterly fascinated, obsessed even, with everything about you.
Ever since that famous phone call which led to your debut at Carnegie Hall.
And you have not let them down, my dear.
Fifteen years on television, teaching us all the magic of classical music, the Young People’s Concerts and Omnibus reaching hundreds of millions all over the world, ten years at the New York Philharmonic and then there are the compositions.
West Side Story redefined the American musical.
Jesus Christ.
Then there’s Candide and On the Town.
Actually, when you add it up, there’s not much that I’ve created.
Music is… I don’t…
I know this is gonna sound strange, it was the most important thing I could do and a great source of dissatisfaction that I haven’t created that much at all.
I mean, when you add it up, it’s not a very long list.
Well…
What this is…
This is an opportunity for the world to get to know you apart from all that.
This book is to understand what you think about in your private moments.
Your personal feelings on, well, on life as you know it.
I feel like the world is on the verge of collapse.
That’s what I feel like.
[John laughs]
I’m quite serious.
Yes.
The diminution of creativity, which has come to a grinding halt.
I mean, not scientifically. That has exploded.
But as we sit here, I find it very difficult to… think that… whether I’m a conductor or a composer, of any note, has any bearing on anything.
Or that my existence is even worth talking about for this book.
No, I agree. I agree.
I think this has marked many artists and you can see it in their work.
This seems to seep into the subconscious so that there’s this great depression…
But I know that Felicia…
She senses it enormously.
It’s all pervasive.
It’s almost as if she can’t enjoy anything anymore.
I know.
It just seems so sad.
A picnic… the water, lunch… sitting around being together.
What is that?
I think she has a keen sense of futility.
I sense that too about her.
I had no idea because I had this feeling of her first, incredibly, which she is, vivacious and marvelously alert and aware and a happy person, but something in her seems crushed.
She said to me in Vienna last month, “I want to get off. I want to stop the bus and get off.”
Mmm.
Mmm.
And how do you feel about that?
I have one or two saving factors. One is it that I love people, and I love music. I love music so much it keeps me glued to life even when I’m most depressed.
And I can get very deeply depressed.
But I have a work ethic and that keeps me afloat.
And the other is that I love people so much that… it’s hard for me to be alone.
Which is part of my struggle as a composer.
[chuckles] Yes.
You are the only person I’ve met who leaves the bathroom door open for fear of being alone.
I mean, can one really believe that man is just this trapped animal.
He’s a victim of his own greeds and follies and…
Either one believes in the divine element in this or one doesn’t.
As long as I believe it… which I assume is why I love people so much, then I have to believe that in some remote corner of my soul there is a way out.
Okay, so, sopranos… you’re on the hot seat.
[laughter]
Take it from bar 44, just from the end of “Make our garden grow, make our garden grow,” heading to the a cappella.
And, sopranos, make sure that you… make space so that the high notes can soar.
[“Make Our Garden Grow” by Leonard Bernstein playing]
[all singing]
[music stops]
[speaking Spanish]
[in English] It means…
It is… “I’m dying and I’m growing a hernia.”
It’s an old Chilean expression.
I was desperate to find a rhyme, I couldn’t.
I woke her up…
Your mother was from Rovno Gubernia.
In the middle of the night, desperate.
There’s a Chilean idiom, top of her head.
You woke me up from a very deep sleep.
It’s the exact piece.
In fact, all of the Spanish here is all from Felicia.
We’re lucky that she’s here today to help with the pronunciation.
That’s right. I’m sorry, I’ve been…
I was looking through Voltaire’s work and I couldn’t find Rovno Gubernia.
That’s because I made it up, my dear boy.
[“Prologue
West Side Story” by Leonard Bernstein playing]
Let’s see what you think.
See what you think.
This is gorgeous.
I know, isn’t it lovely?
All right, there you go.
Thank you.
Come on. Let’s go.
Lenny, what do you want me to get?
You could just get that big-ass bag of kibble.
Oh, Lord. Thank you.
[Tommy] It’s Jamie.
[Leonard] And I wanted to have a drink.
[indistinct chatter]
[Nina] Daddy!
Hello, darling.
Help yourself after. Just go right there.
Is this all Felicia’s idea?
I had nothing to do with it. Her painting as well.
So beautiful.
[Felicia] Lenny.
What is it, darling?
Have you seen Jamie?
I have not seen Jamie.
You haven’t seen her?
No.
Why? Is she here?
Yes, she’s here.
She’s terribly upset, darling.
What is she upset about?
She’s been hearing gossip.
Excuse me?
Gossip.
Gossip about what?
About you, darling.
What about me?
I don’t know. She’s been up at Tanglewood all summer.
I can’t imagine what she might’ve heard.
Well, what did you tell her?
Darling, it’s not for me really to say. I said she should speak to you.
She’s old enough, don’t you think?
I don’t care how old she is, I ask that you be discreet.
I think she’s completely at an age where she needs to, deserves to know.
I mean, darling, she didn’t ask for any of this.
It was my decision.
Well, no, it’s our decision.
It’s not just yours.
Don’t you dare tell her the truth.
Jamiery Creamery.
[Jamie] Welcome home.
Well, look at this.
Hello.
[Jamie] Hi.
Hello. Wow.
Not what I expected.
Did you write a new song or something?
I was reading. Keeping my journal. You have a nice trip?
Did you see Tommy?
Oh, yes, he waved.
I thought that would make you happy. He’s gonna spend the weekend.
Wonderful.
Smart as a whip, that boy. Keeps me on my toes.
See how he does the anagrams.
He’s a sweet boy.
Yeah, you know, your mother told me that you… are very upset because you heard some rumors about me at Tanglewood this summer.
I really wish she wouldn’t have said anything.
Jamie…
It’s fine, it’s no big deal.
It is a big deal because you’re upset.
I wasn’t upset.
So let’s discuss it.
Your mother and I have talked about it and…
I said I’d come down here and talk to you about it.
I…
Try to enlighten or shed some sort of understanding on what could’ve happened, so…
Jealousy is the word that I would use.
What?
Jealousy.
When I was a… student at Curtis, there was a boy…
Seemed like a nice boy. Brought a pistol to school, tried to kill me because he was jealous of my musical… talent.
Your musical talent.
It just drove him to the brink of murder.
Artur Rodziński was the musical director of the New York Philharmonic.
[clears throat] God told him to hire me.
Tried to strangle me during a rehearsal.
Because of jealousy.
Now, I don’t know what happened or who said what or where, but I can only imagine that it was spurned on by jealousy, darling.
Jealousy of…
Of whatever it is that I do that has plagued me all my life and I apologize for plaguing you now.
But I hope that helps.
So the rumors aren’t true?
No, darling.
Thank you… for coming to talk to me.
I’m relieved.
Let’s go inside.
What…
All right, what color?
[Nina] Here we have…
We’ve got three shades of the exact same red.
It’s not the exact same red.
This one apparently is blue.
I’m gonna try…
Blue…
[Alexander] So we’re just giving up on anagrams, guys?
You’re gonna make it a design.
[Jamie] Having a nail session.
You’re an artist.
Look at this, it’s a little checker.
[Leonard] I thought it was a good idea for him to come for the weekend.
I know how much Jamie loves being with him.
[Felicia] Jamie?
You like him too, don’t you?
[Felicia] Yes, I do.
[Leonard] Darling, if I’ve done something wrong, tell me.
No.
No, I don’t know why Jamie is particularly…
I don’t know why you said she was particularly interested in…
[Leonard] Well, Tommy is very, sort of, warm, and he’s highly intelligent, as is our daughter.
[chuckles] Okay.
And…
[Felicia] No, I’m not saying that…
No, I have an interest in spending time with him too.
I’m not trying to shove it off that I brought him here for her.
Clearly not.
Well, no, obviously not.
[Leonard] All I’m saying is that’s just another reason why.
But I can easily tell him not to come.
No.
[Leonard] I misread the room, clearly.
[Felicia] No.
I misread the room.
[Felicia] Well, it’s not really about that. It’s about…
[Leonard] What is it about?
No, nothing.
[Leonard] Okay. All right.
So, then, it’s fine?
Yes?
[Felicia] Yes.
All right, darling.
[Felicia] I’ll do it. Okay.
[Leonard] What?
No, I just…
Nothing. I thought we were having a conversation.
But we were.
[Felicia] No.
I’m sorry. I thought we were finished.
[Felicia] I know you’re busy.
[Leonard] I’m not busy, I’m just desperate to finish this.
[Felicia] Well, then, do it, darling. I’m not stopping you. Do it.
[“Secret Songs” by Leonard Bernstein playing]
[woman vocalizing]
Where is everybody? Oh, they’re here.
Hello, everyone, I have an announcement to make.
I have finished “Mass.”
[Nina] Yay, Dad.
[Leonard] Where is Mummy going?
[music crescendos]
[music continues]
[inaudible]
[“Almighty Father” by Leonard Bernstein playing]
Julia, who left the Snoopy in the vestibule?
Hello, Brian. Alex.
Who left… Who abandoned Snoopy in the vestibule?
Who abandoned Snoopy?
That was me. I’m sorry, Daddy.
I mean, it’s his day.
He started eating it…
Daddy, you have to see me.
How many?
Stop.
Why are you going on and on about this?
How many?
I’m so sorry.
There was a woman…
You’re a day late for Thanksgiving.
I know. Harry had me going all over. I had to do…
Nina was very upset.
Well, I don’t think… Nina doesn’t seem so upset.
Did you hear her screaming about some random woman?
You finally got her to come.
As a surprise for you…
Daddy!
Of course. Thank you, Julia.
Nina’s not upset about the woman.
She’s upset about you almost missing Thanksgiving.
We didn’t know if you were coming.
Happy Thanksgiving.
Mike, please stay.
Thanks.
I got to go down.
Jamie, take him.
Yeah, come on, Mike.
Thank you.
Do you want any snacks first?
No, I’m good.
Happy Thanksgiving.
[Leonard sighs]
[knock on door, opens]
Darling?
Mmm.
[Leonard sighs]
[door closes]
For a second I thought… [chuckles]
It was quite a stunt that you pulled.
What?
That was quite a stunt that you pulled.
What do you mean?
Well, darling, you put the pillow outside and the slippers and the toothpaste and the toothbrush and I haven’t seen you since.
I understand you’re angry with me. Jesus Christ. But, I mean… let’s be reasonable.
There’s a saying in Chile about never standing under a bird that’s full of shit.
And I’ve just been living under that fucking bird for so long, it’s actually become comedic.
Well, I think… that you’re letting your sadness get…
Oh, stop it!
Let me finish…
That has nothing to do with me…
…what I’m going to say. I think…
No.
…you’re letting your sadness get the better of you.
It’s about you, so you should love it.
You want to be sleepless and depressed and sick.
So you can avoid fulfilling your obligations.
What obligations?
To what you’ve been given.
The gift that you’ve been given.
Please.
My God.
The gift comes with burdens. Do you have any idea?
The burden of feigning honesty and love.
Sorry, that’s the truth.
That above all you love people and from that wellspring of love the complications arise in your life.
That’s exactly right.
Wake up! Take off your glasses.
Hate in your heart. Hate in your heart and anger.
There’s so many things, it’s hard to count.
That’s what drives you. Deep, deep anger drives you.
You aren’t on that podium allowing us to experience the music the way it was intended. You are throwing it in our faces.
How dare you?
How much we’ll never be able to ever understand and by us witnessing you do it so effortlessly, you hope that we will know, really know, deep in our core how less than we all are for you.
That’s your issue.
And it’s your hubris…
Join the crowd.
You prance around with all your dewy-eyed waiters that Harry corrals for you under the guise they have something intellectual to offer you while you are “teaching” them.
Well, at least my heart is open.
The audacity to say that!
Have you forgotten about the four years where you couldn’t decide if you wanted to marry me?
That’s what I think.
The idea of you?
The Chamberlain movie we saw last week, he said, “How could I compete with the man you think I am?”
Thank God I met Dick so I could fucking survive your indecision.
Dick Hart. Richard Hart.
Yes.
Who fucking died.
Who loved me.
Who died.
Who loved me.
Yeah, he’s a corpse now and I was the one who was a fool waiting outside the fucking hospital for you like an idiot in my truth.
Your truth is a fucking lie!
It sucks up the energy in every room and gives the rest of us zero opportunity to live or even breathe as our true selves.
Your truth makes you brave and strong and saps the rest of us of any kind of bravery or strength.
Because it’s so draining, Lenny.
It’s so draining to love and accept someone who doesn’t love and accept themselves.
And that’s the only truth I know about you.
If you’re not careful, you’re going to die a lonely, old queen.
[Alexander] Mommy! Daddy!
[Nina] Mom! Dad!
Daddy!
Mom!
[Alexander] Snoopy’s here, hurry up!
[Nina] Come on.
Mommy! You’re missing Snoopy.
[Alexander] What are you guys doing in there?
[Nina] He’s so big.
You’ve been in there for ages.
Dad!
Yes.
Come on.
I’ll go.
[door opens, closes]
[audience applauding]
Hello.
Hello. How are you?
Hello. Hello. How are you?
Wonderful. Hello. Hello.
What I love about these Thursday rehearsals is that we get a chance to talk to you about what we think of the music.
So, thank you for coming and good afternoon.
Um, today we’re studying Shostakovich’s 14th Opus 135.
What I realized about this piece…
It could be morbid, but I tend to think that it’s not…
…is that as death approaches…
I believe that an artist must cast off anything that’s restraining him.
And an artist must be resolute in creating, whatever time he has left, in absolute freedom.
And that’s why…
I have to do this for myself, I have to live… the rest of my life, however long or short that may be, exactly the way that I want.
As more and more of us are in this day and age.
[Façade
An Entertainment” by William Walton playing]
♪ When Sir Beelzebub Called for his syllabub ♪
♪ In the hotel in Hell ♪
♪ Where Proserpine first fell ♪
♪ Blue as the gendarmerie were the Waves of the sea ♪
♪ Rocking and shocking the bar-maid ♪
♪ Like Balaclava, the lava came down ♪
♪ From the Roof, and the sea’s blue ♪
♪ Wooden gendarmerie ♪
♪ Took them in charge while Beelzebub roared for his rum ♪
♪ None of them come! ♪
[Colin] And cut. Thank you. That’s the scene.
My goodness. I don’t think my mouth has ever moved so fast.
You are sweet, Colin.
Here you are, Felicia.
I’d love to do one more.
Yes, of course.
If you don’t mind.
So, this thing where, remember if you hold the score low you get a better bounce.
Lower. I was doing it high.
If we do it again, I’d love to start at bar 44.
And I do believe percussion could be a little bit quiet.
Still have a headache?
It’s fine.
Cynthia.
Do they realize
it’s only a matter of time before you direct the production?
Already happening. The carpet was a different color yesterday.
I was right about the carpet.
I agree.
I just forgot how much I love being at work.
We’re almost finished.
Reservation can wait.
This is such a hoot. Really.
Wait.
I thought tonight was my night to take you out.
Oh, you both have to stop worrying about me. I’m fine.
I’m busier than ever.
[Cynthia] Better, not busier.
Though, boy, that’s true, isn’t it? I mean, doesn’t the…
[bell ringing]
Poor Murderer go into previews the next week?
Don’t remind me.
[Mendy] Who said anything about worrying?
I’m just greedy to have as much of you as I can get.
I’m all yours.
What were you talking about?
[Tommy] I was talking about how…
What was I talking about?
I can’t remember.
Maybe I was saying how handsome everybody looks tonight.
A lot of hombres. Lots.
Chicken? That’s what we call them.
[Harry] Always good with the chickens.
[Tommy] You really like the chickens.
I love the chickens.
I know you do.
Harry, do I…
Yeah.
Just do it off there.
Yeah.
Did you get it?
Like a pro.
It’s raining down on me through your fucking nose.
It’s fine. Just right over here.
Here you go. I’ll just serve everybody.
[door opens]
[Tommy] Oh, Lenny…
I’m fine. Thank you.
I’m sorry…
It’s okay. Thank you. It’s fine.
Jerry Robbins was right, you can’t maintain a relationship when you’re living in various hotel rooms.
[Jamie] You’ll start to upset me now.
Listen.
No, darling, no, I just wanted to…
I called because I wanted to ask what your plans were for the weekend.
We’re gonna be home in a couple of days.
I thought we could all spend it in Fairfield. You just have to nudge Mommy.
Who’s we, Daddy?
No, I…
Well, he’s not a monster.
He’s an utterly brilliant…
delightful fellow. He’s my genius little leprechaun. He’s not even my type.
Daddy, please don’t.
Daddy, please don’t talk to me about this.
Darling…
[sighs] I’m in awe of you.
I love you so, Jamie… I love you.
I know. I know.
I know.
I’ll talk to Mummy again.
Okay, Daddy.
I don’t know if you saw it, but you did get a wonderful mention in The New York Times review.
Oh, really?
I kept it for you. I thought I could…
I don’t wanna see it.
No, it just makes me feel uncomfortable.
But that’s so sweet. Thank you.
[Jamie] All right.
[Shirley] How was Monday night?
Monday… No, I don’t think
I want to talk about it.
[Jamie] Wait.
What happened on Monday night?
Nothing.
[Shirley] Your mother has a suitor.
No.
[Jamie] Really? No, please, let’s talk about it.
I think it’s enough that you are subjected to your father’s affair.
So, no, I don’t think we need to.
But, speaking of your father, I do have two performances on Thanksgiving, so…
I’ll stay at the theater and you’ll eat with him at the apartment with Nina and Alex.
For Nina’s sake, let’s maintain some semblance of normalcy.
Doesn’t feel normal to me.
[Felicia] Well, I… I don’t know what to say.
I’m running late to meet Alexander.
[Felicia] Oh, come on.
I am. You two clearly have things to speak about.
No, don’t do that.
No, I’m gonna give you guys space to speak about it.
That’s not how we do things.
Grownups don’t do that.
I did make plans with Alexander…
No. Darling.
We’re not leaving like this. Look at me in the eye.
I can see how cross you are and I don’t want you to go like that.
I’m not cross with you.
I don’t believe you.
[Jamie] Hold on.
I am not angry with you, Mummy.
[whispers] You’re a terrible liar.
At least you know you can trust me.
That’s true.
I’m gonna clear.
[Felicia] No.
Got to make fun of him…
I love you.
For not coming to see you yet, rave about your performance.
Well, that’d be wonderful.
Okay, now, tell me about the suitor.
Oh, so, yes, the suitor…
Uh, so…
I was very excited, as you know.
I was very excited, as you know.
I do.
We went out for lunch, not dinner.
Where?
Café Carlyle, nothing fancy.
And I was a little nervous, I’ll admit, so was he.
So, halfway through the meal, he leans over, and he asks if he can tell me a secret.
He has a little crush, you see.
Indeed.
So, I smiled, I blushed a little and I pushed him to tell me.
He has a crush on Mendy and he wants me to introduce them.
Mendy Wager?
Mendy.
Don’t be so surprised. Mendy’s a very handsome man.
Felicia…
There I was… blushing, butterflies all-a-tremble, and…
Well… seems I’m attracted to a certain type.
Listen…
You know, Lenny loves you, he really does.
He’s just… a man. A horribly aging man… who cannot just be wholly one thing.
He’s just… lost.
I’ve always known who he is.
He called me, you know.
And?
He wants us all to go to Fairfield for two weeks.
He sounded different.
Felicia…
No, I…
Let’s not make excuses. He didn’t fail me.
Felicia…
No, it’s…
It’s my own arrogance to think I could survive on what he could give.
It’s ironic. I would look at everyone, even my children with such pity because of their longing for his attention.
It was sort of a banner I wore so proudly, I don’t need. I don’t need.
And… look at me now.
Who’s the one who hasn’t been honest?
I miss him… that child of mine.
Any questions?
[“Symphony No. 2 in C minor Resurrection” by Gustav Mahler playing]
[singing in German]
[male chorus singing]
[women singing]
[male chorus singing]
[female chorus singing]
[music crescendos]
[chorus singing]
[music crescendos]
[chorus continues]
[music crescendos]
[chorus crescendos]
[music stops]
[all applauding, cheering]
[man in English] Bravo!
It was amazing.
Darling, why did you come?
There is no hate… There is no hate in your heart.
Mr. Bernstein, you can come back now.
Oh, wonderful.
Wanna sit down? [chuckles]
Yes.
You seem like you need your blood pressure taken.
No, I’m fine.
You know Betty’s coming for dinner tonight?
I didn’t know that.
She is.
And Mendy, which will be so nice.
And Julia’s gone to go and get fennel, which you know Betty loves.
[knock on door]
Come in.
Hello.
[Dr. Kruger] How are you?
It looks like you have a tumor of the right side of the left breast which may have metastasized to the lung.
Given the size of the tumor, I would recommend that we remove the breast, the underlying muscles and the adjacent lymph nodes, as well as do a biopsy of the lung which will help us confirm whether there is spread or not.
We could do all of this early next week if you like.
Yes.
But I’m… Darling… I’m starting a play in September.
That’s okay.
No, but I should let them know… I’ll let them know.
I think your recovery will be faster than you think and we can have you ready within about one to two weeks.
That’s wonderful news.
You’ll be able to do what you need to do.
How can we be assured that we get all the cancer?
Well…
…that we get all the cancer.
We’re not gonna compromise on that for the play…
Once we take off the breast, there’ll be no local cancer.
We do have to determine about the lung.
How long would the biopsy take?
The biopsy, just minutes, and you’ll be sleeping from the other procedure.
So, you do it… you do…
You do both at the same time?
Yeah, we do the breast and it’d be easy to do the biopsy of the lung.
[crying]
Thank you. Thanks for everything.
I know…
I know.
[door closes]
I know.
That’s so ridiculous.
No, I know.
I’m so ridiculous.
There, there. It’s okay, darling.
No, I don’t really think so, darling.
Darling.
Thank you.
Darling, let’s take the park and walk.
Really?
Yes.
Yes, let’s get some air.
Okay.
[Felicia] Oh, my God.
You all right?
[Felicia] No, I’m fine.
There’s something wrong with my knee.
I have an idea.
[Felicia] Oh, no.
[lighter clicking]
Is that a lighter, darling?
Mind your own business.
[“Age of Anxiety” by Leonard Bernstein playing]
I’m thinking of a number.
[Felicia laughs]
Oh, I don’t know. Nine.
No.
Five.
No, you have to think.
I’m trying to.
I am trying to.
It’s two, darling.
Two.
It’s two.
Like us.
Hmm?
Like us, a pair.
Mmm.
Two little ducks in a pond.
Throw your weight on me, darling.
That’s it. Put all your weight on me. Yes, that’s it.
Lean your head back. That’s it.
[Cynthia] Oh, my dear.
Hello, dears.
Hello.
[Mendy] Gorgeous.
Missed you.
Missed you so much.
[Jamie] Mummy? You all right?
I’m good. I’m fine.
[Cynthia sighs]
Did you have a nightmare getting here?
[Cynthia] Of course. This one was driving.
Oh, no.
[Mendy] I don’t think we could’ve gone farther east if we’d tried.
[Cynthia] You know I hate driving.
Oh, I wish I’d come earlier. Is there…
Is there anything you need?
Anything I can do?
Never get another perm.
[Cynthia and Mendy laugh]
[Mendy] That’s what I said.
[Cynthia] Ramone said it was a triumph.
[Mendy] It’s a gigantic triumph.
[Cynthia] Where’s Lenny?
Oh, I don’t know, he’s sleeping or something.
Do you remember that… that bar mitzvah that you dragged me to, one of Alexander’s friends?
The little… Yes.
I do.
With…
Oh, what’s his name?
Feldman. Yeah.
[Cynthia] Yes!
So, we’re there and I am, of course, seated next to our dear Felicia here.
And she looks stunning as usual. Woe is me.
And Lenny’s about 25 pounds lighter.
And tanned, just tanned, all in white from head to toe, including white patent-leather shoes with no socks.
It was very en vogue.
[Mendy] A lie.
[Cynthia] Well, at one point Lenny, he gets up, you know, in that all-white attire and he makes his way up to the lectern. Um…
[coughing]
Yes.
No, it’s fine. The, um…
Lenny in the white suit.
[Cynthia] Yes.
And he’s all in white… and, um… he… Uh, he goes up to the lectern and… I don’t think anybody asked him to speak.
No.
But… it took him 20 minutes just to walk from our table up there, stopping at every table he passed, chit-chatting of course, and finally, he arrives up there next to the frightened boy.
And Felicia leans up to me without missing a beat and says, “And now we have the bride.”
[all laughing]
[piano music playing]
[Mendy] He’s risen.
[“Bridal Chorus” by Richard Wagner playing]
Oh.
[Felicia] Oh, my God.
[Mendy] A production.
[Felicia] Watch it, Jamie.
[Leonard] I’ll see you.
Okay. All right, bye. See you.
Love you.
[door closes]
I don’t want any more visitors.
No more. No more. I want to go to bed.
Yes, okay.
[Leonard] Yes. No, you’re gonna have to cancel it. Yes.
Well…
No, I’m not leaving.
That’s out of the question.
I’ve had a relationship with the orchestra for 15 years, they’ll understand.
No, that…
I’m not leaving here, Harry. You’re gonna have to figure it out.
Yes.
Yes, we’re doing fine.
[muffled screaming]
[crying]
Are you using the bathroom?
No, I can’t.
You have to drink your water.
I’m trying.
Oh, my God, I’m freezing cold all the time.
No, don’t help me. I don’t need help.
I don’t need it. I don’t need it.
Let go.
Get into bed, come on. I don’t need all this fuss.
Are the pillows all right?
Honestly, they’re fine. Come on.
Just lie down. Lie down.
Okay.
[sobs] Sorry. Sorry.
I’m sorry.
You know…
all you need…
all anyone needs is to be sensitive to others.
Kindness.
Kindness. Kindness.
Darling, it’s ten minutes past half hour. Did you take your medicine?
No, I don’t…
How’s your pain threshold?
I think he told me not to take it.
Who told you?
Arkell.
Darling…
No, Arkell’s not our doctor. It’s Kruger… Bernard.
Arkell was our doctor many years ago.
Of course, no, I don’t know what…
Maybe you should go take some medicine. How’s your pain?
It’s fine.
No pain?
[Felicia] No.
[Leonard] Okay, well, after this, take it, all right?
Darling, all right?
[Felicia] No, I’m concentrating.
Look what I found.
[Leonard] What is it?
Speaking of childhood memories…
[Leonard] Oh, yes.
[Jamie] Could be a good idea.
[Alexander] More interesting.
[Leonard] Now, is it?
[Jamie] Put it on.
[Leonard] Do you remember that song, dear?
You do?
Do you guys think we do?
[Alexander] Do you remember the dance?
No.
You were the worst…
[Jamie] Do you remember the dance?
You were the absolute worst at it.
♪ The monkey chewed tobacco On the streetcar line ♪
♪ The line broke, the monkey got choked ♪
♪ They all went to heaven In a little row-boat ♪
♪ Clap-Pat Slap-Clap ♪
♪ Slap-Pat Clap-Slap ♪
♪ Clap-Pat ♪
Get your hands into it.
Come here, everyone.
Come here.
Sweet Gene, come here. Come here.
Come here. Sweet Gene, come here.
[in Spanish] Let’s go to the house.
[dog barking in distance]
[Leonard in English] Where’s the patient?
Where is the patient?
The doctor is here. Hello, nurse.
And, uh…
[breathing heavily]
[Felicia groans softly]
[whispers] I love you.
[weakly] You smell like… tuna fish… and cigarettes.
You caught me.
It’s horrible.
[Leonard’s breath trembling]
[“Postlude From Act 1” by Leonard Bernstein playing]
[“It’s the End of the World as We Know It (And I Feel Fine)” playing on car stereo]
[music stops]
[Leonard] You got it?
Yeah.
Get the bag.
I think the main point of this whole piece is becoming one.
Not only the timpani in the back, but also the violins in the front.
Have to treat them all as one organism.
If you do that, then you can just work from there.
I’ve got you. So don’t worry.
Okay? I’m right here. I’m gonna take you through it.
Okay? Here we go.
Okay.
[orchestral tuning]
William, everybody.
Bar three-eleven, please.
[Leonard clears throat]
One, two, three.
[“Allegro Vivace From Symphony No. 8” by Beethoven playing]
[music crescendos]
Okay. Sorry.
[clears throat] Sorry.
[music stops]
Now that you’ve made it clear that you’re retarding into the fermata…
Yeah, I’m just still unclear after…
It’s fine, everything’s together.
But what happens after? What are you gonna do?
‘Cause they don’t know. You gonna bleed out of it or you gonna drip out of it? What are you gonna do?
I’ll do this.
Leak out of it. That’s what it sounds like.
Fermata.
Bar before.
Bar before.
One, two, three.
[music continues]
No, that’s not clear.
[music stops]
Yeah, I didn’t feel that.
One more time please. Sorry.
Shall I…
[music continues]
Okay, that’s very nice.
But that’s still a bar.
[music stops]
So, if I could just show you what I think you wanted and if I’m wrong, you tell me.
Okay.
So think you want to do. Where you want to take it… You have to do… cut off and an upbeat.
Quarters. I think that’s what you really mean.
Bar before the fermata.
[music continues]
Right?
Yeah.
Did I get it? What did I do?
Ah, that’s what I did.
[all applauding]
That’s for me or for you?
More.
More. More!
That’s very good. Okay.
Start back here. Okay, thank you.
Be kind to him.
[laughter]
[“Shout” by Ian Stanley playing]
[Leonard] If summer doesn’t sing in you, then nothing sings in you, and if nothing sings in you, then you can’t make music.
Something she told me when I was gloomy about something and recited this Edna St. Vincent Millay poem, which then became Songfest.
But summer does still sing in me.
Not as strongly as it used to or… or as often… but it sure does.
If not, I would’ve jumped in the lake long ago.
Any questions?
[“Chichester Psalms II” by Leonard Bernstein playing]
[“Overture Candide” by Leonard Bernstein playing]
[music crescendos]
[music stops]
[“Kaddish” by Leonard Bernstein playing]
* * *
REVIEWS
by Jessica Kiang
Some of the crackliest moments in A Star Is Born (2018), Bradley Cooper’s directorial debut, were specifically about the act of creating music. A few bars of a new tune are coaxed into the shape of a hit, enlivened by the electricity of a crowd, and a song is born – a thing of beauty but with labour pains and stretch marks that prove it’s earned.
The director-star returns to the arena of the charismatic musician for his second feature, but maybe Leonard Bernstein’s genius was such that to imagine a similar process for him would have felt presumptuous. At any rate, the handsomely shot, superbly acted biopic Maestro is good on the man, great on his marriage, but disappointingly vague about his music, as though all that wondrous work just happened while Bernstein was busy doing other things. And other people.
Although Maestro is a love story that plays out from Bernstein’s meeting with his future wife Felicia (a marvellous, grate but spirited Carey Mulligan, who gets this garrulous film’s few funny lines) through to her deeply affecting death, it is not one in which sexual fidelity plays much part. All through their decades of marriage and the raising of their three children, whether cinematographer Matthew Libatique’s swooning imagery is in striking black and white or saturated, oily Kodachrome-style colour, Bernstein is having affairs with men. Felicia tolerates them, right until she realises the toll her forbearance has taken, in a show-stopper domestic argument scene, set on Thanksgiving, made all the more incredible by the giant floating Snoopy bobbing past the windows of the couple’s apartment.
But back to bar one: in a gorgeously percussive monochrome sequence, Cooper’s Bernstein receives the life-changing phone call informing him that he is to conduct the New York Philharmonic that night. He is tangled in bed-sheets with his clarinettist lover (Matt Bomer) but now dashes in pyjamas through Carnegie Hall from his upstairs apartment and on to the stage, tuxedoed, like some swift Clark-Kent-to-Superman-style transformation. Now flung out of fame’s catapult, by the time of his meeting Felicia, a Broadway actress, Lenny is already the centre of any room’s attention.
This meeting is a giggly romantic delirium, cleverly written to deliver both their backstories in the form of a flirtation. Their syncopation is already so genuine that it makes sense of the way Felicia will avert her eyes from Lenny’s later affairs: who wouldn’t make certain sacrifices to be one half of such an irresistible double act? But no one can exist under conditions of absolute selflessness forever. In one of the film’s most perceptive scenes Felicia confesses ruefully that she used to look down on those – even her own children – who craved Lenny’s time, when she herself held on to him by issuing no claim on him, by being the only one who “didn’t need.”
Yet to need is as human as to be needed, and it is only after Felicia’s lung cancer diagnosis – which she rages against in a heartbreakingly candid portrayal of the cruelty of terminal disease – that Lenny turns down public engagements and devotes himself to her.
Cooper’s directorial style, right until the graceful slowdown of the concluding chapters, is to drop us mid-sentence into conversations and in-jokes, all go-go-go, chatter and sparkle. Maybe that’s what it’s like to be this famous: you have licence to leap over formalities because you can assume everyone wants to be closer to you, to be flattered by the fleeting interest you show. Cooper’s performance dazzles (even if his animation never quite extends to the tip of his controversially enhanced nose), but the approach allows Bernstein little depth, as though the man, who was reportedly so much the extrovert that he’d leave the door open while using the toilet, only existed within sight of others.
This does a disservice to Bernstein’s musical achievements, which came from some place inside him that the movie never accesses, and included myriad compositions, the revolutionising of the contemporary classical music scene and, with West Side Story especially, the establishment of a blazing new standard in musical theatre. Key artistic collaborators get barely a look-in: choreographer Jerome Robbins (Michael Urie) is present in the background of a scene or two as ‘Jerry’; Stephen Sondheim gets one scanty shout-out from Felicia as ‘Stevie’.
Bernstein states and restates his love for music, how it saves his life, and how, paraphrasing Edna St Vincent Millay, it is the summer that sings in him. But aside from one powerful sequence, which soaringly recreates in Ely Cathedral his iconic performance of Mahler’s Resurrection Symphony, Maestro is all about the singer, and not enough about the song.
Sight and Sound, Winter 2023-24 – Volume 34 Issue 1
