Maria

Rating 5/10

Director Pablo Larraín’s new effort features Angelina Jolie as the legendary opera singer Maria Callas and focuses on her final days in 1970s Paris. Maria is the latest entry in his intimate portrayals of iconic 20th-century women, following Jackie (2016) and Spencer (2021).

Larraín’s approach in these movies diverges from traditional cradle-to-grave biopics, opting for a more artistic examination. In Jackie, Natalie Portman portrays Jacqueline Kennedy following the aftermath of President Kennedy’s assassination. Similarly, Spencer, with Kristen Stewart, delves into a pivotal holiday in Princess Diana’s life amidst royal expectations. The subjects are presented at a low point in their lives, conspicuously behaving in a way that doesn’t celebrate their accomplishments. Maria is yet another window into an unhappy world that completes what I’m calling his “trilogy of errors.”

The method aims for an atmospheric exploration of his subjects’ inner lives. Larraín concentrates on the last week in Callas’ life, emphasizing her emotional and psychological state in a life cut short by a heart attack at 53. She is preparing for a potential concert. The vocals blend Jolie’s voice with original recordings of Callas to achieve the sound. The mix varies throughout. In some scenes, Jolie’s voice comprises as little as 1% of the audio, while in others, it accounts for more.

The portrait elevates Callas as an objet d’art by which we can inspect and critique. I know nothing of the personality of this renowned soprano. Hence, I’m not qualified to judge whether Angelina Jolie embodies the diva, but she effectively represents a confident and stylish woman. I was fascinated by what she does here. Without Jolie’s presence, the movie would be nothing.

Other characters are introduced to provide interactions that ostensibly illustrate her mindset. Ferruccio (Pierfrancesco Favino) provides steadfast support as a loyal butler. A dedicated housemaid, Bruna (Alba Rohrwacher), offers warmth during moments of reflection. Business magnate Aristotle Onassis (Haluk Bilginer) is Maria’s former lover with whom she had a tumultuous relationship. The most contrived character of all is Mandrax (Kodi Smit-McPhee).  The young interviewer is named after the drug she uses and is an imaginary character. He simply exists as a narrative device for her introspection. These relationships should clarify Callas’ profound legacy, but they only obscure it further, shrouding the story in a haze that raises more questions than it answers.

Angelina Jolie is the reason to see this biopic. Sadly, her captivating performance is a brilliant manifestation in service of a film that prioritizes mood over factual depth. Ultimately, Maria is a biopic that leaves viewers turning to Wikipedia to seek an understanding of its complex subject. It admittedly offers style but falls far short of explaining why this enigmatic woman deserved the spotlight. Watching it feels like indulging in a beautifully plated haute cuisine meal, only to find yourself still hungry and running to McDonald’s afterward to satisfy your cravings.

01-06-25