Picture this: an award-winning actress, known for her incredible talent and a string of impressive roles, suddenly realizes that she has been holding back throughout her entire career. Surprising, right? Well, that's precisely what happened to Carey Mulligan. With two Oscar nominations, a Tony nod, and a repertoire of remarkable films under her belt, one would assume she had nothing to prove. But Mulligan, never one to get precious about her craft, always embraced the simplistic approach to acting, as advised by the legendary Laurence Olivier: 'Why don't you just try acting?' However, things took a turn for the transformative when she embarked on a profound journey, thanks to Bradley Cooper and the film 'Maestro.'
'Maestro,' now available for streaming on Netflix, became a turning point in Mulligan's understanding of herself as an actor and her exploration of her true capabilities. In fact, it wouldn't be surprising if this beautiful portrayal of Felicia Montealegre, the elegant actor and wife of Leonard Bernstein, earned her another Oscar nomination and, quite possibly, her first win.
Recently, Mulligan shared her experiences of becoming Montealegre in a candid interview with The Associated Press. It all began when Cooper approached her about the role in the summer of 2018. Unlike her usual few months of preparation for a role, Mulligan now had years to dive into this character. Daunting, yet exhilarating. To truly embody Montealegre, she delved into extensive research, studying her unique dialect closely. Born in Costa Rica, raised in Chile, and educated at a British school in Santiago, Montealegre's accent required careful attention.
Luckily, Mulligan had access to long recorded interviews that she listened to repeatedly. Additionally, she worked closely with renowned dialect coach Tim Monich, who had actually met Montealegre once. Monich was struck by Montealegre's effortless elegance, and he saw a similar quality in Mulligan. Through their collaborative efforts, they perfected Montealegre's captivating voice, an essential element of the character.
In their preparation, Mulligan and Cooper would often meet and engage in conversations, immersing themselves in their characters. The goal was to become so comfortable with their roles that they wouldn't have to think twice when the cameras started rolling. This technique proved especially helpful during the intense Thanksgiving argument scene, allowing them to fully embody the emotions of their characters.
The dedication to authenticity didn't stop there. As a painter, Felicia Montealegre posed a unique challenge for Mulligan. While she wasn't a painter herself, an earlier script called for scenes of Mulligan painting on camera. Ever the committed artist, she signed up for painting classes to acquire the necessary skills. A particularly interesting twist of fate occurred when Mulligan found herself quarantined in Santiago, Chile, after visiting Montealegre's extended family during the COVID-19 pandemic. During that time, she requested Netflix to send her an easel, paints, and canvas. For ten days, she diligently copied Montealegre's paintings, immersing herself further in the character's artistic world.
Although the painting scenes didn't make it into the final cut of the film, Mulligan's work did not go to waste. Production designer Kevin Thompson incorporated her paintings into the set, placing them in the deep background, adding a touch of authenticity to Montealegre's environment. Mulligan humorously admitted that her paintings may not have been masterpieces, but they played an important role nonetheless. However, the one painting showcased in the hallway was not her work. It was an original piece by Felicia Montealegre herself, lending even more authenticity to the film.
'Maestro' takes us on a journey spanning several decades, calling for Mulligan to portray Montealegre from the age of 24 in 1946, when she first met Leonard Bernstein, to her death in 1978 at the age of 56. The film required a mastery of hair and makeup to capture Montealegre's changing appearance throughout the years, as well as her evolving fashion and hairstyles from the 1950s through the 1970s.
In the early scenes, shot in black and white on film, Mulligan discovered that costumes that popped on camera might not necessarily look great in reality. However, renowned costume designer Mark Bridges, an Oscar winner himself, was able to strike the perfect balance between the two mediums. Among Mulligan's countless looks, her favorite was the stunning blue dress she wore for the performance of 'MASS.' The dress symbolized Felicia's emotional state, a visual representation of her longing to walk away from the spotlight as her husband Leonard received accolades.
One of the most intriguing aspects for Mulligan was seeing herself age through the use of makeup and prosthetics. Playing a much older version of her character allowed her to delve into the soul of a mature individual. Mulligan humorously admitted that she loved being in her late 50s during the shoot: a revelation that made her chuckle. The makeup and prosthetics were so realistic that it invoked a moment of reflection on her own mortality. Looking in the mirror, she saw the potential future version of herself, imagining what it would be like to age or become sick. It was a surreal, almost psychedelic experience that left her pondering the fragility of life.
This realistic transformation caught the attention of a visiting doctor, who mistook the aging effects as evidence of a pregnancy. Confused, Mulligan wondered why the doctor seemed so bewildered until she glanced in the mirror and realized the stunning work of the makeup and prosthetics team. It was a testament to their mastery in creating the illusion of age.
During her research, Mulligan stumbled upon something that struck a chord with her: the way critics viewed Felicia Montealegre's work. Many described her simply as 'lovely' – a term that, for Mulligan, held deeper meaning. She couldn't help but feel disappointed for Montealegre, who was married to the legendary Leonard Bernstein, yet received mediocre, patronizing reviews. Mulligan wondered if Montealegre, like herself, held back out of fear of failure. Mulligan contemplated this idea and realized that 'Maestro' had given her the space to truly commit and surrender herself to the role, just as Montealegre had struggled to do.
With 'Maestro,' Carey Mulligan's journey to self-discovery as an actress has reached new heights. The film pushed her beyond her comfort zone, allowing her to fully embrace her capabilities and shed all hesitations. Through the character of Felicia Montealegre, Mulligan shines as she unfolds the complexities, aspirations, and vulnerabilities of a woman in the shadow of greatness. As viewers, we are privileged to witness the transformative power of a talented actress reaching new heights. Who knows? This might just be the role that brings Carey Mulligan her long-awaited Oscar victory.
