Netflix’s “The Only Girl in the Orchestra” brings Orin O’Brien’s story to light

Orin O’Brien has never sought the limelight, but when you’re a trailblazer in classical music, it has a way of finding you. Now, with The Only Girl in the Orchestra, an Oscar-nominated Netflix documentary directed by her niece Molly O’Brien, the legendary double bassist is once again at the center of attention.

Netflix has released a new trailer for the film ahead of final Oscar voting, reigniting interest in the extraordinary journey of O’Brien, who, in 1966, became the first woman to join the New York Philharmonic full-time. Under the baton of Leonard Bernstein, she shattered a long-standing gender barrier, a moment that drew media frenzy at the time—attention she neither sought then nor in the decades that followed.

“This film has been a long time coming. It’s a film I’ve wanted to make for over 10 years,” Molly O’Brien told Deadline on Oscar nomination morning. “It’s a film that comes from my love of Orin O’Brien, ‘the only girl in the orchestra,’ and was made by a group of women in the documentary industry who I equally love and admire. And it just feels like not only the [Academy’s] documentary branch, but the folks who are watching the film on Netflix get it. They’re feeling inspired and hopeful when they watch the film, which is everything that Lisa Remington, the producer of the film, and I wanted people to feel.”

Over the course of 55 years with the New York Philharmonic, O’Brien cemented her reputation as one of the world’s greatest double bassists, earning acclaim not only for her musicianship but also for her dedication as a teacher at institutions such as Juilliard. The documentary, which has drawn praise for its intimate storytelling, features the involvement of Oscar-winning filmmaker Errol Morris as an executive producer, while Oscar nominee Laura Karpman (American Fiction) composed the score.

“Classical music stands on the shoulders of Orin, whose sound and power defined not only the New York Philharmonic but generations of bass players and musicians,” Karpman said. “I too have been the only girl on many, many stages. It takes a giant like Orin to break glass ceilings and usher in beautiful, harmonious change. It was a tremendous honor to write and produce this score under her wing.”

Born to Hollywood actors George O’Brien and Marguerite Churchill, Orin chose a path far removed from the film industry’s glare, dedicating herself to the collaborative spirit of orchestral music. “She was thrust into the spotlight [by Leonard Bernstein], and she is being thrust into the spotlight again today with this [Oscar] nomination, and I think for all the right reasons,” said Molly O’Brien. “She picked up the double bass because it’s an ensemble instrument. She didn’t choose the piano or the violin. She didn’t want to be a soloist or a superstar. She enjoys playing in an ensemble, and the film is a celebration of ensemble, and it’s an ensemble that made the film as well.”

The filmmaker further emphasized the film’s deeper message. “Music is a balm for the soul, and the double bass is its beating heart… We need to perform as an ensemble in so many arenas right now, especially.”

Directed and produced by Molly O’Brien alongside producer Lisa Remington, The Only Girl in the Orchestra also features cinematography by Martina Radwan, editing by Monique Zavistovski, and consulting editing by Kate Amend. As the film continues its Oscar journey, it not only honors a musical pioneer but also amplifies a story of resilience, collaboration, and quiet revolution.

(The story is based on Deadline reporting)

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