Maria review: a reminder of what an accomplished actor Angelina Jolie can be

★★★★☆

As a cinema devotee with over three decades of film-watching under my belt, I must say that Maria has left a profound impact on me. Angelina Jolie‘s return to her dramatic roots is nothing short of remarkable. After years of voicing characters and playing villains, it’s refreshing to see her dive back into the complex world of biopics, especially one as captivating as Maria Callas.

Maria premiered at the Venice Film Festival and will be in cinemas soon. Add it to your watchlist.

As a devoted cinephile, I’ve found Angelina Jolie’s recent film choices quite intriguing. Instead of diving back into the intense dramatic roles that earned her an Academy Award for “Girl, Interrupted” in 2000, she’s been lending her voice to characters like in the “Kung-Fu Panda” series, portraying a Disney villain in “Maleficent,” and appearing as Marvel’s Thena in the 2021 film, “Eternals.” It leaves me wondering about the path she might take next.

She is heading back to her origins, subtly and elegantly portraying the title character in Maria, a fresh biopic by Pablo Larraín – a Chilean filmmaker renowned for his unconventional movies like Jackie (2016) about Jackie Kennedy and Spencer (2021) focusing on Princess Diana. Additionally, he has directed numerous films dealing with the Pinochet regime in his native Spanish language.

In this piece, we delve into the world of one of the most renowned opera singers, Maria Callas. This remarkable woman not only mingled in elite society – at one point she was wedded to influential Greek tycoon Aristotle Onassis – but also had the power to stir deep emotions among her spectators with her captivating performances.

Written by Peaky Blinders creator Steven Knight, who is also known for writing Spencer, this movie portrays the last week of the life of Maria Callas. The story starts on September 16, 1977, the day she passed away due to a heart attack. As doctors and her housemaid, Bruna (Alba Rohrwacher), and butler Ferruccio (Pierfrancesco Favino) stand solemnly around the body, Knight’s script takes us on a partially imagined journey of this final act.

At present, when she says “I’m trying to find what I misplaced,” she goes to see a pianist, hoping to rekindle the peaks of a voice that’s faltering now. However, it’s important to note that this woman heavily depends on medication prescribed by her doctor.

In a discreet instance, she’s observed stashing handfuls of pills into the pockets of her clothes, apparently for an energy boost when out in public. A TV crew is due to arrive at her location, but when the reporter (Kodi Smit-McPhee) identifies himself as “Mandrax”, it becomes evident that this alias serves as a means to delve into her past.

Indeed, the idea of Callas talking with the drug that sustains her daily might seem ironic, yet it’s never trivial. Now, she’s a woman who is left only with memories of the past. As she puts it, “There’s no life outside the stage; the stage lives in my mind.” Larraín skillfully moves between empty stages where Callas once performed and massive crowds wishing her well during some of her greatest performances. In the present, listening to her own recordings is unbearable for her.

The movie alternates between color and black-and-white, portraying Callas during her most successful years, mingling with figures such as Onassis (Haluk Bilginer) and President John F Kennedy (Caspar Phillipson, who previously played JFK in “Jackie”). Although married at the time, Callas, a free spirit, is romanced by Onassis. Despite her knowledge that she will ultimately be replaced by Jackie Kennedy following the President’s assassination, she declares, “I have no desire to be a possession in a cabinet.”

Despite the film’s lack of emotional intensity that may not provoke tears, it offers moments of great tenderness, particularly during the scene where she plays cards with Bruna and Ferruccio, expressing a heartfelt wish for their unity even after her departure. Notably, Favino, the Italian actor from the 2023 Venice Film Festival opener “Comandante,” delivers a commendable performance as the manservant with a frail back, whose role is primarily moving Callas’s grand piano around her opulent but stifling apartment.

Undoubtedly, it is Jolie who deserves the most applause. Her acting skillfully showcases her exceptional talent as an actress.

2024-08-30 14:04

★★★★☆

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