“It’s a shame that Larraín has focused so much on the backdrops than looking for the real heart that drove Callas. It could have been more revealing than replaying her regrets, scandals and media misreporting. Fortunately, Angelina is quite watchable although this film will not be as memorable as Maria Callas herself.“
Con Nats
3 poppers
Pablo Larraín brings us his third instalment in his famous female biopics with Maria, the story of Maria Callas, the famous Greek opera singer with Angelina Jolie taking on her biggest role yet.
The film opens with Callas’ death in 1977 in Paris before cutting back to her final week. She is taking too much Mandrax which causes her to have hallucinations. They happen during an interview with a young man also called also called Mandrax who is interviewing her about her life. (After a while you’ll realise he is a metaphor and she is hallucinating.)
This provides script writer Stephen Knight a framework for flashbacks and introspective reflections to cover her history and thoughts. It also gives Jolie some great lines to deliver.
“We are Greek. Death is our companion” and “I don’t come to restaurants to eat. I come to be adored.”
Even though I have seen a documentary and admired Callas’ voice this film still had surprising revelations, particularly around Jackie Kennedy and the scars of German occupation.
Jolie is simply superb in this role. The many doubts I had about her acting were dashed by this performance. She showed the nuance, fragility and arrogance of this Diva and Angelina gives her everything. Apparently she had six months of singing training to synch her singing with Callas’ voice and you can see the veins in her temples popping in a final powerful performance. This is Oscar level acting (even though she missed out on a nomination).
The problem is with the characterisation. Callas is portrayed as a tortured artist, reliving some of her regrets and controversies. However, real home movies shown during the credits show her smiling, winking and playing to the camera, a joy she brings to her performances. Old interviews reveal a forthright and intelligent woman, not an insecure artist. Jolie’s sullen diva doesn’t seem to reflect Callas’ true character or culture in the flashbacks. After all, she was an opera singer who liked a drink and a smoke, as many Greeks do. They seem to have fallen for the ‘tempestuous Diva’ media narrative and if being a perfectionist qualifies you as a tempestuous Diva so be it. I’m sure her fans didn’t mind and they’ll only see these highs in a montage of flashbacks.
The other folly is the script. Films like this are supposed to find the real person beneath the media persona, not play to media caricatures or invent debatable details. The scenes which surprised me were fictional which is disappointing. And as the script is from Callas’ point of view during this muddled time, it may break a linear storyline, but it doesn’t give us a better idea of the character. Callas’ story is a real ugly ducking tale which is lost in this film. Pity, as she lost a lot of weight when young to improve her singing than a lucky person born with her voice.
Pierfranscesco Favino and Alba Rohrwacher as Ferrucio and Bruna, her servants, are very good. Haluk Bilginer isn’t as convincing as Aristotle Onassis. I had uncles with more character than this guy.
Director Pablo Larraín (Jackie and Spencer) has done his usual excellent job in lighting and framing. He has gone for lots of darkness and shadows and flashbacks are in black and white. It matches the dark mood. Visually this is a beautifully shot movie and the attention to detail is of a high standard. The sets and costumes are lush and the dream sequences are vivid (and I’m very relieved there was no prosthetic nose).
It’s a shame that Larraín has focused so much on the backdrops than looking for the real heart that drove Callas. It could have been more revealing than replaying her regrets, scandals and media misreporting. Fortunately, Angelina is quite watchable although this film will not be as memorable as Maria Callas herself.
Con Nats, On The Screen
