Maria Callas: Book me a table in a café where the waiters know who I am
Story
Maria Callas, the world's greatest opera singer, relives the final days of her life in 1970s Paris as she confronts her identity and her life, and with director Pablo Larraín, discusses how they connected to the heartbreaking true story of the world-famous opera singer. Maria Callas.. The third and final film in Pablo Larraín's so-called "Lady in Heels" trilogy of female biographical films, following Jackie (2016) and Spencer (2021)..
I'm in the mood for flattery
Mentioned in Close-Up: Why Do We Need a Venice Film Festival? (2024). Otello Act 4: 'Ave Maria' (Desdemona) Performed by Maria Callas, Orchestre de la Société des Concerts du Conservatoire Conductor: Nicola Rescigno Written by Giuseppe Verdi, Arrigo Boito Released by Warner Classics, (p) 1964 Parlophone Records Limited Records 2014lo Remastered Limited courtesy of Warner Music Group Germany Holding GmbH, a Warner Music Group company.
I have to say that director Pablo Larrain's 2024 entry into his iconic trilogy about 20th-century women was a disappointment
It starts with the casting, as Angelina Jolie is perhaps too iconic herself to play the ultimate diva Maria Callas, who is the least remembered of the trio, the other two being "Jackie" (2016) and Diana in "Spencer" (2021). Jolie displays the necessary self-control to carry the regal image of the world’s greatest opera singer, but she looks too skeletal physically to convincingly emulate the more robust figure given to Callas. The bleak and drawn-out film, written by Steven Knight, covers the last week of Callas’s life in Paris in 1977, a fictional story with inevitable flashbacks that cumulatively unfolds as a haunting tale.
Her solitary existence is marred only by two loyal servants, played touchingly by Pierfrancesco Favina and Alba Rohrwacher
All the production elements, like the polished cinematography and set details, are impressively handled, but more questionable are Larrain’s creative choices, like the hallucinogenic imagery of choirs of people singing to her in public spaces. There’s the ambiguous role of an examiner (played opaquely by Kodi Smit-McPhee) with the same name as her prescription medication, who forces her to confront her heritage. Some flashbacks highlight the more interesting elements of her story, such as her relatively early relationship with Aristotle Onassis, her traumatic childhood encounters with Nazis, and her riveting interview with JFK (in the same, somewhat insignificant role played by Caspar Phillipson in “Jackie”).
Still, Jolie’s star power is on display, befitting her unique talent for conveying arrogance and vulnerability almost simultaneously
No need to waste time endlessly scrolling — here’s a whole slew of new movies and TV shows streaming on Netflix this month.