Maria review: Angelina Jolie reminds us what an accomplished actress she can be

Maria review: Angelina Jolie reminds us what an accomplished actress she can be
4.0 out of 5 star rating

Lately, Angelina Jolie‘s film choices have been quite diverse, ranging from voice acting in Kung-Fu Panda, portraying a Disney villain in Maleficent, to appearing as Marvel’s Thena in Eternals. However, she seems to have moved away from the intense dramatic roles that earned her an Oscar in 2000 for Girl, Interrupted.

In her latest role, she’s going back to her origins with a refined, intricate portrayal in the biographical film “Maria,” directed by Pablo Larraín.

This director from Chile has offered us unique movies, such as “Jackie” (2016) about Jackie Kennedy and “Spencer” (2021) focusing on Princess Diana. In addition, he has created numerous films in Spanish that delve into the Pinochet regime, his home country’s history.

In this piece, we delve into the life of one of the world’s most renowned opera singers, Maria Callas. A woman who navigated elite society – she was previously wedded to the influential Greek tycoon Aristotle Onassis – yet her performances were capable of stirring tears in her audience members.

Written by Peaky Blinders creator Steven Knight, who also wrote Spencer, the movie portrays Callas during her final week before her death. The story opens on September 16, 1977, the day she passed away from a heart attack, as medical personnel and housemaid Bruna (Alba Rohrwacher) and butler Ferruccio (Pierfrancesco Favino) solemnly gather around her body. Looking back seven days, Knight’s script offers a partially imagined depiction of this final act.

At present, when she says “I’m searching for what I misplaced,” she goes to see a pianist with the expectation of rediscovering the peaks of a voice that’s currently faltering. However, it should be noted that she heavily depends on medication.

In a quiet instance, she’s observed slipping handfuls of pills into the pockets of her garments, apparently for boosting herself when she’s out in public. Interestingly, a TV crew is scheduled to arrive, but when the reporter (Kodi Smit-McPhee) identifies himself as ‘Mandrax’, it’s evident that this name serves as a plot device to explore her past.

Absolutely, portraying Callas talking with the medication that sustains her daily life might seem like a humorous metaphor, but it never feels insincere. Now, she’s a woman who can only reflect on her past. She admits, “There is no life beyond the stage, the stage lives within me.” Director Larraín skillfully moves between an empty stage and Callas performing for thousands of admirers in some of her most memorable concerts. In the present, she finds it unbearable to listen to her own recordings.

The film transitions between color and black-and-white, highlighting Maria Callas during her prime years, interacting with figures such as Haluk Bilginer portraying Onassis and Caspar Phillipson, who has previously played JFK in Jackie, representing President John F Kennedy. Enthralled by Onassis, although married at the time, this free-spirited individual maintains her autonomy: “Being a possession in a display case is not my aspiration,” she states, yet she recognizes that eventually, Jackie Kennedy will replace her following the President’s assassination.

Although the movie may lack emotional depth and might not make you cry, it does have its touching moments, such as when she plays cards with Bruna and Ferruccio. The scene is particularly poignant because she hopes they will remain together even after she’s gone. The Italian actor, Favino, who was in the 2023 Venice Film Festival opener Comandante, delivers a remarkable performance as the servant with a weak back, moving Callas’s grand piano throughout her lavish, oppressive apartment.

Indeed, it’s Jolie who deserves the grandest curtain call. Her performance serves as a testament to her exceptional acting skills.

2024-08-29 22:03

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