Pedro Pascal Confronts Artistic Crisis in Tony Gilroy’s “Behemoth!” A Masterful Blend of Music and Meta-Narrative

As a former classical musician, I approach films set in the music world with heightened expectations for authenticity. While Todd Field’s “Tár” remains the gold standard in this genre, Tony Gilroy’s “Behemoth!” merits consideration for its unvarnished portrayal of contemporary musical culture. The film joins other notable entries like “Mr. Holland’s Opus” and “Maestro” in capturing the nuances of musical life, albeit through a distinctly modern lens.

Pedro Pascal delivers a performance steeped in genuine musicianship, having mastered the cello himself, a commitment that lends credibility to his portrayal of Alex Serian, a prodigal cellist navigating personal and professional turbulence. The narrative explores the struggles of modern orchestras, including financial instability and the need for supplementary gigs, as Alex navigates recording sessions for film scores—a high-stakes world that mirrors the prestige of traditional symphonic work.

Gilroy immerses viewers in the tension of the recording studio, where conductors oscillate between classical precision and Hollywood demands. Pascal’s authentic technique—evident in his bowing and vibrato—grounds the character’s talent in reality. The film’s metastructure, where scenes of score recording become the film’s own soundtrack, adds a playful layer, though its narrative purpose remains ambiguous. While the film features contributions from nine acclaimed composers, the concept could have been achieved with fewer participants without sacrificing its charm.

Alex’s fractured relationships and midlife crisis unfold through fragmented timelines, occasionally clouding clarity. A pivotal encounter with violinist Nadia (Eva Victor) and her daughter Viviana (Alexa Swinton), a young online sensation, drives the plot. These interactions reveal Alex’s troubled family history, particularly through his neurotic brother (Will Arnett), yet Pascal’s understated portrayal occasionally undercuts the emotional stakes.

The climax—a suspenseful infiltration of Nadia’s estate—culminates in a meta-theatrical twist, underscored by “movie music.” Despite its provocative title and unconventional structure, “Behemoth!” functions as a meditation on artistic burnout and reinvention, echoing themes from Gilroy’s earlier work, “Michael Clayton.” While not reaching the emotional depth of “Tár,” the film successfully marries character study with formal experimentation, leaving audiences to ponder its deeper resonance.

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