Angelina Jolie’s emotional triumph at Venice Film Festival
A standing ovation for ‘Maria’
Angelina Jolie received an overwhelming eight-minute standing ovation at the Venice Film Festival following the world premiere of Pablo Larraín’s “Maria”. The reception moved the Oscar-winning actress to tears, leaving her deeply reflective about the legacy of Maria Callas, the opera diva she portrays so compellingly on screen.
“I thought about her a lot in that moment,” Jolie shared during an interview at the Telluride Film Festival, where “Maria” also screened. “It’s strange when you feel so close to this real human being. I know that applause was for her life. Often, we don’t, as artists, know if our work resonates, or we don’t expect kindness. You walk out expecting not to be supported or not to connect. But ‘Maria’ did.”
A trilogy of iconic women
“Maria” is the latest installment in Larraín’s trilogy of iconic, often misunderstood women, following “Jackie” (2016) and “Spencer” (2021). Both previous films earned their lead actresses Oscar nominations, and Jolie seems poised to continue this trend, given the rapturous reviews she’s received. The film, featuring a compelling script by Oscar nominee Steven Knight, chronicles Callas’ final days and reveals the human side of a legend. Netflix has picked up the movie and is planning an awards season push.
A director-actress bond
Jolie and Larraín share a mutual respect and admiration. At one point, Jolie playfully tries to convince Larraín to sing opera. “I haven’t heard you sing. You owe me this,” she tells her director.
“It will never happen. I am no actor,” Larraín responds with a grin.
But Jolie isn’t giving up. “I’ll get you drunk one night,” she teases.
The challenge of portraying Maria Callas
Embracing the role
Taking on the role of Maria Callas was no small feat for Jolie. “It’s great. You always hope to work with directors you’ve admired, and I’ve wanted to work with Pablo for a while. It is a gift to take on something like this, knowing you’re in good hands and can push yourself to the edge because they’ll catch you. Her music was daunting, but it’s good to feel scared. As an artist, being so challenged that you’re unsure if you can do it is a great feeling.”
A fantastical musical
Jolie and Larraín discussed the nature of the film, with Jolie asking if they were making a musical. Larraín explained, “Musicals in cinema are essentially modern American and English adaptations of opera, which originated over 500 years ago as the first blend of dramatic storytelling and music. If a movie can evoke the same sensation as opera, it has the potential to make opera more accessible to those who might view it as an elitist or outdated art form.”
Personal reflections and connections
The essence of family
One of the film’s most touching scenes involves Callas playing cards with her housekeeper Bruna and her servant Ferruccio, showcasing the love within the unconventional family Callas built for herself. Jolie recalls, “That was Pablo. He wanted us to improvise a card game. That was last minute, and I remember I said I didn’t understand. I was a little resistant.”
Larraín adds, “You weren’t initially keen to do it, but once you sat down, you found the best way to approach it, and it turned out to be incredibly moving. It was an improvisation, and I felt we needed a small, intimate moment within the family that wasn’t connected to anything that could go anywhere in the film.”
Learning opera
Learning to sing opera was a significant challenge for Jolie. “It wasn’t easy. I was fortunate to have a director who truly understood and respected opera. He knew how much work was required and assembled a team around me to teach me. He made sure I had the classes I needed and gave me the space to practice.”
Larraín elaborates, “She trained for six months, and then you do five to seven takes in 45 minutes. She had an earpiece, and it’s the only sound you hear on set. And sometimes, there would be about 200 extras on set.”
Falling in love with Maria Callas
When asked if they fell in love with Maria Callas during the process, Jolie responds, “I think that’s why I was so moved when people were moved by it in Venice. She’s this person who we know wasn’t always treated well and isn’t always understood. Having this chance will help people understand and respect her a little bit more. I felt a duty to her and her life. I love her.”
Larraín concurs, “I love her, and this celebrates her life and music. Yes, her destiny was her tragedy. But there’s so much beauty there. Look at her. Look at the world she built. There’s something invisible and irrational about opera. This type of film is the best version of crafting, and we have to be invisible. So when we have the ‘diva’ doing her job, that’s how the music gets in.”
For more information and to watch the trailer, visit Maria.
This article has been edited and condensed for clarity and length.