However, the film’s final act is where Jolie’s singing takes center stage
Plot
Maria Callas, the world’s greatest opera singer, spends her final days in 1970s Paris, confronting her identity and her life. Angelina Jolie and director Pablo Larraín discuss how they connected to the heartbreaking true story of world-famous opera singer Maria Callas. Not wanting to be dubbed and wanting to sing herself, Angelina Jolie prepared for her role with seven months of opera lessons. For scenes set during Callas’ heyday, it’s estimated that 90 to 95 percent of Callas’ original recordings were used, and Jolie lip-synched to the songs. Maria Callas: Book me a table at a café where the waiters know who I am.
I’m in the mood for worship
Mentioned in Close-Up: Why Do We Need the Venice Film Festival? (2024). Otello Act 4: “Ave Maria” (Desdemona) Performed by Maria Callas, Orchestre de la Société des Concerts du Conservatoire Conductor: Nicola Rescigno Screenplay: Giuseppe Verdi, Arrigo Boito A Warner Classics Release, (p) 1964 Parlophone Records Limited Remastered 2014 Parlophone Records Limited Courtesy of Warner Music Group Germany Holding GmbH and Warner Music Group Company. I didn’t expect to like “Maria,” but I did enjoy most of the film (especially the scenes with J. F.
K, Onassis, and Jackie Kennedy)
It was a pleasure to hear Maria Callas sing familiar arias (although, truth be told, I’m not a huge fan of opera). I thought Angelina Jolie was excellent in the role of the wounded, damaged diva who, despite her bitterness toward the people who love and serve her, somehow magically gained my empathy. I found the limited “lip-sync” close-up of Callas singing to be a great choice. We know Jolie can’t sing, and the film wasn’t trying to make us believe she can. And finally, the device of the viewer never really knowing what’s “real,” unlike Maria’s hallucinations, allowed the film to delve into the diva’s past without long expository snippets of dialogue.
Just a little
The film is a little long. But overall, the scenes are well-timed, so if one feels a bit slow, we’re quickly rewarded with another that intrigues us. Did I love “Maria”? NO. Is it for “everyone”?
An icon more vulnerable than I thought
No, again. But it does shine a light on an icon I knew very little about. And one who earned and retained my empathy. No need to waste time scrolling—here’s everything new on Netflix this month.
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