Maria (2024)
Directed by the illustrious Pablo LarraÃn, Maria takes viewers on a poignant journey through the twilight of one of opera’s most illustrious talents, Maria Callas. With a star-studded cast led by Angelina Jolie, alongside Pierfrancesco Favino, Alba Rohrwacher, and an ensemble of captivating performances, the film delves deep into the soul of a woman striving to reclaim her artistic essence while navigating the tumultuous waters of fame and personal strife.
SYNOPSIS:
The narrative unfolds against the backdrop of 1970s Paris, chronicling the final chapters of Callas’s life, a time marked by both artistic fervor and deep personal reflection. Here lies a fragile genius, cast adrift in a sea of public speculation and intimate demons.
A Masterpiece of Emotion and Complexity
Maria is not just a film; it’s a masterfully woven tapestry of memory and regret, a meditation on the price of fame. In this culmination of LarraÃn’s examination of extraordinary women—a trilogy that also includes profound portrayals of Jackie Kennedy and Diana Spencer—the film stands as a mesmerizing reflection of an artist grappling with her own legacy.
Jolie, as Callas, doesn’t simply inhabit the role; she resurrects a spirit suffocated by the expectations of others. While she may not perform the operatic notes that defined Callas’s brilliance, her emotive prowess resonates profoundly in recollected performances and interactions with her steadfast companions, the ever-caring butler Ferruccio (Favino) and the nurturing housekeeper Bruna (Rohrwacher). Their camaraderie brings a flicker of humor and warmth, a stark contrast to the oppressive shadows that loom over Callas’s existence.
The screenplay dances between humor and melancholy, as Callas engages in witty repartees with her companions—quips that reveal her unyielding spirit even while facing tumultuous health challenges. A seemingly trivial exchange about rearranging pianos morphs into a symbol of autonomy, underscoring her refusal to be reduced to mere gossip fodder.
A Cinematic Experience Beyond the Surface
As the plot unfurls, we are introduced to Mandrax (Kodi Smit-McPhee), a documentary filmmaker who dares to peel back the layers of Callas’s complex life, offering viewers a voyeuristic glimpse into her past romances and triumphs. This meta-narrative structure, though rooted in conventional storytelling, becomes a vehicle for LarraÃn’s exploration of time, memory, and identity.
Amidst the glamorous chaos, the haunting specter of Aristotle Onassis (Haluk Bilginer)—the man who both captivated and constricted Callas—casts a long shadow over her narrative. Their entangled affair showcases the delicate dance of power and vulnerability, reflecting the intricate balances one must navigate in love and ambition.
Visually, Maria is nothing short of breathtaking. Shot in vivid black-and-white, Edward Lachman’s cinematography captures the opulence of the grand concert halls while framing Callas’s isolation within her expansive home. Each frame is imbued with a sense of longing, evoking both the grandeur of her performances and the desolation of her personal strife.
A Resonating Conclusion of Beauty and Tragedy
Ultimately, Maria builds to an emotionally charged denouement, a celebration intertwined with sorrow, where redemption and tragic beauty intertwine. LarraÃn offers not just a snapshot of a life but a lingering question of what it means to truly reclaim oneself amidst chaos.
Angelina Jolie delivers what may be one of her career-defining performances, embodying the essence of a complex woman standing firm against the tumult of her own narrative. Maria becomes more than a film; it transforms into an evocative reflection on the pursuit of art, love, and the indomitable spirit of a true diva.
Flickering Myth Rating: Film: ★ ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association; he serves as the Flickering Myth Reviews Editor.
