By Steve Crum
“PRIVILEGE.” It is an apt alternate title I would give to Maria, the fascinating biopic of world renowned opera singer Maria Callas, starring Angelina Jolie. To say that Maria Callas was spoiled is to put it, um, mildly. Accurately described as as a “biographical psychological drama,” the film’s production is the result of an international collaboration encompassing the United States, Chile, Great Britain, Italy and Germany. For example, Director Pablo Larrain (Jackie) is Chilean; Screenwriter Steven Knight is British.
The story opens during the final day of Maria Callas (Sept. 16, 1977), and continues for the next 124 minutes in flashbacks…and flashbacks within flashbacks. To offset confusion, past incidents appear in black and white. The narrative is still confusing, particularly when Maria has distorted recollections (hallucinations) due to her ill health—influenced by drugs, fantasies, and memory loss. She suffers mental demons, viewed through her recollections. Expect lapses in truth and rumor like whether or not the young Maria was forced to sing for the Nazi SS…or her relationship with Aristotle Onassis (well portrayed by Haluk Bilginer).
Her need to be pampered and the center of attention is explored. As depicted, she stops by a favorite eatery in Paris. “I’m not hungry,” she tells the waiter. “I come to restaurants to be adored.”
During her prime, Callas was considered THE prima donna opera singer. With a yet unequalled singing range, she exuded professionalism and showmanship on major stages around the world.
Yet, as shown in the film, she is fraught with vocal insecurity. Scattered memories surround her fear of never singing again as she grows older.
As the film slowly (too slowly) progresses, it reminded me in several ways of Albert and David Maysles’ 1987 documentary, Grey Gardens. Even though Maria is not a documentary, it has a similar feel in its mixture of grandeur and former grandeur. Sadness permeates both films.
That sadness is somewhat balanced with friendship via the dedicated and loving relationship between Callas and her longtime servants, expertly portrayed by Pierfrancesco Favino as her butler, Ferruccio—loyal to the hilt, and Alba Rohrwacher’s Bruna, the housemaid.
Angelina Jolie shines as Callas, not only in terms of acting but expertly lip synching to the diva’s original recordings. It is Jolie herself superbly singing at the movie’s conclusion. Her seven months in vocal training paid off!
Kudos to the awesome location filming (in and outdoors) by cinematographer Edward Lachman.
And bravo to Jolie, whose acting (and singing) chops have risen to Oscar level since those long ago Tomb Raider days—not saying that she wasn’t an impressive action star.
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