{"id":468,"date":"2025-08-17T07:32:55","date_gmt":"2025-08-17T05:32:55","guid":{"rendered":"https:\/\/mordudecinema.fr\/?p=468"},"modified":"2025-09-04T04:52:54","modified_gmt":"2025-09-04T02:52:54","slug":"critique-maestro-2023","status":"publish","type":"post","link":"https:\/\/mordudecinema.fr\/index.php\/2025\/08\/17\/critique-maestro-2023\/","title":{"rendered":"Maestro (2023) – Ma Critique"},"content":{"rendered":"\n
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\"\"<\/figure>\n\n\n\n

Maestro (2023), r\u00e9alis\u00e9 par <\/em>Bradley Cooper<\/p>\n\n\n\n

En 2018, Bradley Cooper choisissait de passer derri\u00e8re la cam\u00e9ra (tout en se mettant lui-m\u00eame en sc\u00e8ne) pour nous sortir A Star is Born<\/em>, quatri\u00e8me remake d\u2019une histoire que l\u2019on ne pr\u00e9sente plus. Apr\u00e8s le succ\u00e8s critique et financier du film, j’\u00e9tais curieux de d\u00e9couvrir le prochain projet avec Cooper aux commandes. Dans Maestro<\/strong><\/em>, c\u2019est la vie du compositeur de West Side Story<\/em>, Leonard Bernstein<\/a>, qu’il a d\u00e9cid\u00e9 de nous raconter.<\/p>\n\n\n\n

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Une premi\u00e8re partie qui mise (vraiment) tout sur la forme<\/h2>\n\n\n\n

Maestro<\/em> propose un r\u00e9cit divis\u00e9 en deux parties.<\/strong> La premi\u00e8re partie du film -en noir et blanc- se consacre \u00e0 l’ascension professionnelle du compositeur et \u00e0 sa rencontre avec sa future femme, l\u2019actrice Felicia Montealegre<\/a>. Autant le dire tout de suite, c\u2019est un d\u00e9but assez ennuyeux. En effet, Cooper ne nous donne aucune mati\u00e8re pour que l\u2019on puisse s\u2019attacher un minimum aux deux principaux protagonistes.<\/strong> Leur vie et leur relation nous sont bri\u00e8vement r\u00e9sum\u00e9es \u00e0 travers des dialogues pour la plupart st\u00e9riles entre d’innombrables poses clopes. J’ai le vague souvenir que l\u2019histoire m’avait par\u00fbt tellement creuse que j\u2019avais ferm\u00e9 Netflix plusieurs fois avant de reprendre le film \u00e0 z\u00e9ro une semaine plus tard.<\/p>\n\n\n\n

Dans cette partie, le r\u00e9alisateur semble se pr\u00e9occuper davantage de la forme que du fond. Mais est-ce au moins une r\u00e9ussite de ce c\u00f4t\u00e9 l\u00e0 ? Et bien il y a des atouts mais c’est quand m\u00eame mitig\u00e9 ! Malgr\u00e9 de sublimes plans en noir et blanc<\/strong> (la photographie est belle, il faut le reconna\u00eetre), nous sommes en pleine surench\u00e8re cin\u00e9matographique. Une sorte d’orgie stylistique, une fresque froide. La mise en sc\u00e8ne et le montage nous laissent en effet l\u2019impression d\u2019un film qui essaye de cocher toutes les cases d\u2019un cahier des charges visant \u00e0 r\u00e9colter un maximum de nominations aux Oscars. Maestro<\/em> semble artificiel et manque donc de sinc\u00e9rit\u00e9.<\/strong> <\/p>\n\n\n\n

Je trouve que tout cela soul\u00e8ve n\u00e9anmoins une question int\u00e9ressante : \u00e0 quel moment l’ambition artistique fait perdre le naturel d’une \u0153uvre ? <\/p>\n\n\n\n

\"Maestro<\/figure>\n<\/div>\n\n\n\n
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La seconde partie de Maestro, plus humaine mais toujours insuffisante<\/h2>\n\n\n\n

Maestro, un biopic qui laisse amer<\/h3>\n\n\n\n

La seconde partie du film est l\u00e9g\u00e8rement plus int\u00e9ressante mais l\u2019ellipse est difficile \u00e0 dig\u00e9rer. La transition entre les deux parties laisse en effet un sentiment d’incompl\u00e9tude. D\u00e8s l’annonce du projet, nous savions que la bisexualit\u00e9 du compositeur et sa relation avec sa femme allaient \u00eatre le c\u0153ur l\u2019intrigue<\/strong>. Mais il est regrettable que ce qui a fait le succ\u00e8s de Bernstein soit \u00e9voqu\u00e9 de mani\u00e8re aussi anecdotique. Il y a bien quelques sc\u00e8nes o\u00f9 Leonard porte un regard sur sa carri\u00e8re, mais ce ne sont que des parenth\u00e8ses.<\/p>\n\n\n\n

Ce qui m’interpelle c’est la raison d’\u00eatre de Maestro<\/em>.<\/strong> Pourquoi faire un biopic se focalisant sur la vie priv\u00e9e de Berstein, si c’est pour nous montrer des protagonistes avec peu d’approfondissement ? Oui, dans cette seconde partie, le r\u00e9alisateur s\u2019y int\u00e9resse bien plus qu\u2019au d\u00e9but du long-m\u00e9trage mais il ne fait que gratter la surface avec une trajectoire sc\u00e9naristique des plus classiques. Maestro<\/em> a \u00e9chou\u00e9 l\u00e0 o\u00f9 La Femme de Tcha\u00efkovski<\/em>, qui explorait la relation entre un compositeur de renom homosexuel et son \u00e9pouse<\/strong>, a fait carton plein.<\/p>\n\n\n\n

Que reste-t-il ?<\/h3>\n\n\n\n

On a donc un film qui ne parle pas de la carri\u00e8re de Berstein puisque ce n’est pas le sujet mais qui ne fait qu\u2019effleurer sa vie personnelle. Du coup, que reste-t-il de pertinent dans cette deuxi\u00e8me partie ? Quelques moments mignons entre deux tr\u00e8s bons acteurs bien costum\u00e9s et d\u2019excellents maquillages pour les vieillir.<\/strong> Bradley Cooper prouve une nouvelle fois qu’il sait se diriger sous sa propre direction et Carey Mulligan est formidable. Dans un dernier acte, l\u2019actrice se d\u00e9m\u00e8ne pour nous \u00e9mouvoir, \u00e7a marche, mais \u00e7a ne suffit pas \u00e0 combler les lacunes du reste du film.<\/p>\n\n\n\n

En soit Maestro <\/em>n’est pas un film mauvais. C’est un film un peu superficiel qui se perd dans ses priorit\u00e9s.<\/strong> Un film qui donc n’a malheureusement pas grand chose \u00e0 raconter. <\/p>\n\n\n\n

\"\"<\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
\n

R\u00e9sum\u00e9 : Ce n’\u00e9tait peut \u00eatre pas facile de passer apr\u00e8s T\u00e1r<\/em> de Todd Field mais Maestro reste une d\u00e9ception. Un r\u00e9sultat tr\u00e8s moyen. Malgr\u00e9 une mise en sc\u00e8ne voulant \u00e0 tout prix plaire, de bonnes prestations et un sujet portant sur l’amour, Maestro<\/em> manque de c\u0153ur. Ce n’\u00e9tait pas le cas pour A Star is Born, moins pr\u00e9tentieux, plus chaleureux.<\/strong><\/p>\n\n\n\n

5\/10<\/strong><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Maestro (2023), r\u00e9alis\u00e9 par Bradley Cooper En 2018, Bradley Cooper choisissait de passer derri\u00e8re la cam\u00e9ra (tout en se mettant lui-m\u00eame en sc\u00e8ne) pour nous sortir A Star is Born, quatri\u00e8me remake d\u2019une histoire que l\u2019on ne pr\u00e9sente plus. Apr\u00e8s le succ\u00e8s critique et financier du film, j’\u00e9tais curieux de d\u00e9couvrir le prochain projet avec Cooper […]<\/p>\n","protected":false},"author":1,"featured_media":513,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","footnotes":""},"categories":[3],"tags":[27,22,26],"class_list":["post-468","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques-de-films","tag-biopic","tag-critique","tag-film-dramatique"],"yoast_head":"\nMaestro (2023) - Ma Critique - Un Mordu de Cin\u00e9ma<\/title>\n<meta name=\"description\" content=\"Ma critique du film Maestro (2023). 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