A haunting portrayal of Maria Callas: A week in the life of a legend
The final days of a diva
“Maria,” directed by Pablo Larraín, delves into the last week of the legendary American-born Greek soprano, Maria Callas. The film opens on September 16, 1977, the day of her death. We find Maria, frail and ghostly, collapsed on the floor of her opulent Paris apartment. The narrative then rewinds to a week before, capturing the essence of her final days, interspersed with pivotal moments from her life. This structure sets a somber tone, as we are acutely aware of the impending tragedy.
A gilded cage
Maria’s apartment, adorned with chandeliers, wooden walls, and grandiose canvases, exudes the splendor of an 18th-century French royal court. This is Larraín’s third intimate portrayal of a 20th-century iconic female figure, following “Jackie” and “Spencer.” In all three films, the residences are more than mere settings; they are elaborate stage sets that act as gilded cages. Unlike the White House in “Jackie” or Queen Elizabeth’s country estate in “Spencer,” Maria’s luxurious apartment feels like a prison of her own making.
The prison of her life
Maria’s life has become a prison. She relies on a cocktail of uppers and downers, notably Mandrax, a hypnotic sedative obtained illegally. Her eating disorder, driven by an obsession with staying thin, mirrors her compulsive nature. She treats her long-time housekeeper, Bruna, and her butler and chauffeur, Feruccio, as vassals catering to her whims. Her avoidance of her doctor and nightly fantasies of being visited by the ghost of her former lover, Aristotle Onassis, further illustrate her deteriorating mental state.
The haunting voice
At 53, Maria hasn’t sung in public for over four years. Yet, the film portrays her as a total artist, consumed by her gift of singing opera with a voice so sublime it reaches the heavens. The soundtrack is filled with arias from 19th-century Italian composers like Verdi, Rossini, and Puccini, showcasing the power of her gift. Angelina Jolie, who plays Maria, does an extraordinary job of lip-syncing to the nuances of Maria’s vocal splendor. However, Maria herself is haunted by her past performances, unable to listen to her old records due to their painful perfection. “Audiences expect miracles,” she says, aware that she can no longer deliver them. Her voice, while still present, is much weaker now.
The myth of La Callas
The myth of La Callas—the voice that captivated the world—now imprisons Maria. If she can’t revive La Callas, what is the point of living? This tragic narrative mirrors an opera: a great artist trapped by the fading of her gift. Yet, it also paints Maria as a doomed legend living on fumes, akin to Norma Desmond in “Sunset Boulevard.”
A contrast to Jackie and Spencer
The central figures in “Jackie” and “Spencer,” despite their hellish circumstances, were different. “Jackie” focused on Jackie Kennedy’s resilience following JFK’s assassination, portraying her as a profile in courage. “Spencer” depicted Diana’s existential crisis and her decision to save herself by redefining the modern monarchy. Both films showcased a dark kind of triumph. In contrast, “Maria” is driven by a dramatic fatalism that diminishes its impact. Despite being about a great artist, Maria seems a lesser figure compared to the heroines of “Jackie” or “Spencer.”
Jolie’s performance
Jolie’s performance is captivating. From her first appearance, she commands attention, portraying Maria as an imperious, mysterious woman, blending the life force of a genius diva with the emotional fire of a femme fatale. Jolie reminds us of her ability to be a serious actor of commanding subtlety and power. However, the film could have benefited from exploring a greater vulnerability in Maria’s character.
Visual warmth and haunting flashbacks
Shot by the renowned Edward Lachman, “Maria” boasts an autumnal visual warmth that is both beautiful and seductive. The flashbacks, presented in black-and-white, color in Maria’s past but leave us with as many questions as answers. Her interviews with an eager young filmmaker named Mandrax and her troubled relationship with her mother during WWII add layers to her character. The key flashbacks revolve around Onassis, the Greek shipping tycoon she fell in love with in 1959. Haluk Bilginer portrays him as a charismatic yet manipulative figure, making him irresistible to Maria.
The weight of fate
A sense of fate looms over “Maria,” raising the stakes yet paradoxically lowering them. Maria’s determination to control her destiny leaves little room for hope. The audience’s desire for her to transcend her despair is overshadowed by her self-fulfilling downward spiral. The film offers glimpses of Callas on stage during her heyday, but none are extended enough to fully immerse us in her artistry. Maria’s observation that singing opera is so draining it takes the life out of you is a poignant thought, but by the end of “Maria,” it feels as though it has taken the life out of the movie itself.
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