has a light in his eye — a glow of merriment and mischief, of gleeful cosmopolitan desire. His Lenny is a prodigy, a prankster, a seducer, a monk of creative devotion and, through it all, a man of epic contradiction. In public, he tends toward the proper and stentorian; in private, he’s recklessly exuberant enough to give new — or maybe old — meaning to the word.
Bernstein, framed in silhouette, lights up a cigarette and voices the appropriate regret over Walter’s condition. But then he puts down the phone, leaps out of the bed he shares with his dreamboat lover, David , and runs through the apartment and right into Carnegie Hall. The film cuts to the aftermath of the concert: Lenny, onstage,with joy, which is his form of generosity. What he’s really laughing at is that a star is born, and the star is him.
She’s in sync with his giddy embrace of his life, and matches him quip for quip. Yet it’s not just fun and games. Throughout the movie, Lenny talks about how much he wants to do and be everything at once. He has too many dimensions, and every time he says this it’s both true and a signifier: of the spilling-over-the-sides fulsomeness of his sexual identity. He can’t be.
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