The recent success of the biopic “Maestro” about Leonard Bernstein’s life and career has shed light on the complex world of acquiring life rights in Hollywood. The film, which received seven Oscar nominations, faced potential legal challenges that could have halted its distribution if not for the cooperation of Bernstein’s children.
According to transactional law scholar Jorge L. Contreras, the practice of acquiring life rights has become common in Hollywood to prevent defamation lawsuits and competition from other filmmakers. In the case of “Maestro,” Bradley Cooper, the star and director of the film, approached Bernstein’s children for permission to use their father’s music in the movie.
Despite having the option to proceed without further communication, Cooper went above and beyond by frequently consulting with the Bernstein siblings, sharing script iterations, and showing them edited footage. The family’s blessing also provided a layer of protection when Cooper faced criticism for using a prosthetic nose to portray Bernstein, who was Jewish.
While the cooperation of Bernstein’s children helped mitigate potential controversies, some critics, like Richard Brody of The New Yorker, have raised concerns about the film’s lack of controversy and suggested that the estate’s involvement may have played a role.
Overall, the story of “Maestro” highlights the delicate balance filmmakers must strike when navigating the legal and ethical considerations of portraying real-life figures on screen.
