Angelina Jolie steps into the shoes of legendary soprano Maria Callas in Maria, directed by Pablo Larraín. This evocative biopic offers a poignant and theatrical glimpse into the final days of Callas’ life, blending raw emotion and dreamlike storytelling to create a work that feels more like an opera than a conventional historical film.
Set during a week in September 1977, the film paints a vivid portrait of Callas as she grapples with fading fame, personal anguish, and a tenuous grip on reality. Jolie, in one of her most captivating performances to date, masterfully conveys Callas’ fragility and ferocity, delivering a portrayal that is both graceful and intense.
The Diva’s Final Aria
From the opening moments, Maria sets the tone for an emotional journey. Jolie’s Callas, reclining in her Paris apartment, tells her butler Ferruccio (Pierfrancesco Favino, in an outstanding performance): “As of this morning, what is real and what is not real is my business.” This line, sharp and definitive, encapsulates the film’s ethos, where reality is secondary to emotional truth.
Through cinematographer Ed Lachman’s lens, the film shifts effortlessly between past and present, capturing Callas’ triumphs on stage, her tumultuous romance with Aristotle Onassis (Haluk Bilginer), and her struggles with diminishing vocal prowess. In the present, she moves through Paris in her iconic style, searching for the adoration that once defined her life, haunted by visions of staged performances and fading memories.
A Biopic as Opera
Unlike traditional biopics, Maria embraces the grandeur and drama befitting its subject. Larraín takes creative liberties, crafting a narrative that prioritizes emotional depth over strict adherence to fact. Jolie’s performance is a testament to this vision. While she doesn’t physically resemble Callas, her embodiment of the diva’s spirit is so immersive that the distinction becomes irrelevant.
In one particularly striking scene, Callas confronts a fan who accuses her of feigning illness to skip a performance. Her response—a fiery defense of the physical and emotional toll of her craft—is as much a reflection of Callas’ reality as it is Jolie’s. The blurred lines between actor and character heighten the film’s impact, leaving viewers with profound empathy for both women.
Larraín’s Unique Vision
Maria completes Larraín’s unofficial trilogy on iconic women, following Jackie and Spencer. Like its predecessors, Maria offers a deeply personal exploration of its subject, eschewing conventional narratives in favor of introspective and often divisive storytelling. This approach may not resonate with everyone, but it undeniably provides a rich canvas for its stars.
Jolie, who has been selective with her recent roles, delivers a performance that feels all-consuming. Her portrayal of Callas is layered, blending vulnerability with an unwavering resolve. It’s a reminder of her prowess as an actor and a testament to the transformative power of cinema.
Verdict
At its core, Maria is an operatic ode to one of history’s greatest divas. It’s a film brimming with flair, beauty, and sorrow, much like Callas herself. While not without its flaws—such as a slightly unnecessary encounter with John F. Kennedy—the film’s strengths far outweigh its missteps.Rating: ★★★ out of 4
Maria is now showing in select theaters and will stream on Netflix starting December 11. Rated R for “a sexual reference and some language,” the film runs for 122 minutes.
Paraluman P. Funtanilla
Paraluman P. Funtanilla is Tutubi News Magazine's Marketing Specialist and is a Contributing Editor. She finished her degree in Communication Arts in De La Salle Lipa. She has worked as a Digital Marketer for start-up businesses and small business spaces for the past two years. She has earned certificates from Coursera on Brand Management: Aligning Business Brand and Behavior and Viral Marketing and How to Craft Contagious Content. She also worked with Asia Express Romania TV Show.
