Sigue la vida de la mayor cantante de ópera del mundo, Maria Callas, durante sus últimos días en el París de los años setenta.Sigue la vida de la mayor cantante de ópera del mundo, Maria Callas, durante sus últimos días en el París de los años setenta.Sigue la vida de la mayor cantante de ópera del mundo, Maria Callas, durante sus últimos días en el París de los años setenta.
- Nominado a 1 premio Óscar
- 6 premios ganados y 29 nominaciones en total
Erophilie Panagiotarea
- Young Yakinthi
- (as Erofili Panagiotarea)
Lyès Salem
- Waiter
- (as Lyes Salem)
- Dirección
- Guionista
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
The surprise of this glum biopic is at the end credits that show the real Maria Callas. And she's smiling! She's laughing! She's even...gasp...having fun!! Amazing, since, with the exception of a scene toward the end where she's playing cards with her butler and cook, you can get old waiting for a light moment from this misery fest. And when director Pablo Lorrain isn't drowning you in doom (the film should have been titled "Death In Paris") scenarist Steven Knight is showering you with pretension in dialogue that is excessively florid even by the standards of folks who make their living in opera.
So once again we have a biopic of a creative near genius without the creativity or the genius. Just endless self pity and self destruction. If it were not for the considerable acting talents of Ms. Jolie this thing would be utterly unwatchable. Well, that's not really true. Cinematographer Ed Lachman's beautiful evocation of the city of light makes it eminently watchable. And the music, of course, is heart breakingly lovely. But then Lorraine and Knight have to go and muck things up again with their relentless rain cloud of a movie. Give it a C plus.
So once again we have a biopic of a creative near genius without the creativity or the genius. Just endless self pity and self destruction. If it were not for the considerable acting talents of Ms. Jolie this thing would be utterly unwatchable. Well, that's not really true. Cinematographer Ed Lachman's beautiful evocation of the city of light makes it eminently watchable. And the music, of course, is heart breakingly lovely. But then Lorraine and Knight have to go and muck things up again with their relentless rain cloud of a movie. Give it a C plus.
Pablo Larraín's film Maria attempts to portray the life of the famous opera singer Maria Callas, but it doesn't fully capture her strength and mystery. The film focuses mainly on the tragic aspects of her life, such as her difficult relationship with Onassis, the pressure of her career, and the pain caused by her fame. It is a film about sadness and suffering, but it misses the opportunity to highlight her immense talent and the beauty of her voice.
Nevertheless, the film does have its strengths. The cinematography is stunning, and Larraín's direction captures the heavy atmosphere of Callas' life well. The film subtly portrays the loneliness of her existence. The costumes and sets are beautiful and provide a visual tribute to the opera world in which Callas lived. The music is also well-chosen and creates some emotional moments that deepen the story.
One of the biggest issues with the film is the casting of Angelina Jolie in the lead role. She is a talented actress, but her appearance doesn't quite align with how Maria Callas looked. Callas had a very unique, but not "perfect" face-her face was full of emotion and vulnerability, which made her so human and real. Jolie's face often looks too polished, making it harder to see the true Maria Callas. Instead of Callas, the viewer mostly sees Angelina Jolie.
The film also lacks balance between showing Callas' sadness and celebrating her incredible musical talent. Callas' voice was one of the most beautiful in opera, and it's a shame that the film focuses so much on the difficult moments of her life. Yes, her life was filled with pain, but it would have been good to also show how magical her performances were, how technically skilled she was, and how much passion she put into every aria. A film about Callas should not only show her as a victim, but also as the great artist she was, who captivated the world again and again with her art.
If Maria Callas had seen this film, she might have felt uncomfortable. Instead of a film that celebrates her talent and voice, we get a somber portrait of her life, with little room for the beauty that defined her career. The film emphasizes her pain, rather than her most glorious moments. This is not what she deserved. Maria Callas deserves more than a film that focuses solely on her sorrow. She deserves a film that celebrates her as the legendary artist she was.
Nevertheless, the film does have its strengths. The cinematography is stunning, and Larraín's direction captures the heavy atmosphere of Callas' life well. The film subtly portrays the loneliness of her existence. The costumes and sets are beautiful and provide a visual tribute to the opera world in which Callas lived. The music is also well-chosen and creates some emotional moments that deepen the story.
One of the biggest issues with the film is the casting of Angelina Jolie in the lead role. She is a talented actress, but her appearance doesn't quite align with how Maria Callas looked. Callas had a very unique, but not "perfect" face-her face was full of emotion and vulnerability, which made her so human and real. Jolie's face often looks too polished, making it harder to see the true Maria Callas. Instead of Callas, the viewer mostly sees Angelina Jolie.
The film also lacks balance between showing Callas' sadness and celebrating her incredible musical talent. Callas' voice was one of the most beautiful in opera, and it's a shame that the film focuses so much on the difficult moments of her life. Yes, her life was filled with pain, but it would have been good to also show how magical her performances were, how technically skilled she was, and how much passion she put into every aria. A film about Callas should not only show her as a victim, but also as the great artist she was, who captivated the world again and again with her art.
If Maria Callas had seen this film, she might have felt uncomfortable. Instead of a film that celebrates her talent and voice, we get a somber portrait of her life, with little room for the beauty that defined her career. The film emphasizes her pain, rather than her most glorious moments. This is not what she deserved. Maria Callas deserves more than a film that focuses solely on her sorrow. She deserves a film that celebrates her as the legendary artist she was.
I am sure this film was made with great care and love, BUT what it lacked the most of, in my opinion is BREATH.
Opera singers learn how to controle their breath so to captivate ours. And I agree with the other less favourable reviews that the opening scene really was a bad example of lip-synching particularly because I could not see ms Jolie breathe!
Of course La Callas lived a glamorous life but to me the focus seemed to be more directed towards the visual in this movie.
This is a film that made me stop watching it to the end, and I am sorry for it. I too had high hopes for these two iconic ladies.
Opera singers learn how to controle their breath so to captivate ours. And I agree with the other less favourable reviews that the opening scene really was a bad example of lip-synching particularly because I could not see ms Jolie breathe!
Of course La Callas lived a glamorous life but to me the focus seemed to be more directed towards the visual in this movie.
This is a film that made me stop watching it to the end, and I am sorry for it. I too had high hopes for these two iconic ladies.
I agree with blanche-2 and other reviewers, as a former opera student for many years and opera lover and connoisseur.
This may be a delight for those who like Angelina Jolie and like to see a beatiful face on screen, but nothing here resembles the unique quality of divine Maria.
For starters, this is the worse lip-sync I have seen in my life in a biopic of a singer, and it was a surprise that a movie supposed to be a first-rate production went ahead ignoring this major failure. After all, singing is to the essence of the film, it is not a secondary scene. And if you want to recreate Callas life using real recordings, the performative effort must be flawless. Of course it is as hard as demanding, but if you want to compare Jolie's playback what a remarkable, well-executed example, please watch La Mome, the biopic about Edith Piaf, and find delight in Marion Cotillard's perfect, unbelievably good execution. (Jolie's lack of sync is as unbelievable.)
Then, the physique du role. Jolie is one of the most beautiful actresses of our time. But it has physical disparities with Callas which cannot be solved with make-up, and the lack of resemblance spoils the effort. Callas's beauty was tempered, life-chiseled, acquired, a result of a deep effort at self-awareness and self-hardening and reshaping her destiny. That kind of subjective process simply «showed» in her regal attitude, and imposing scenic presence. Jolie is a born beauty, her beauty a gift given from the start, and, in my opinion, she did not manage to convey the dramatic depth of Callas's appeal enough as to create the magical impression that we are seeing a credible Callas.
Also, for those who love opera, Jolie's embouchure (the singers' «mouth mould») is a joke, nothing close to the unmistaken bel canto mouth frame which opera singers (and Callas) distinctively employ. It may seem an unimportant detail, but the sum of inconsistencies and lack of attention to detail ends up being irritating.
I have not listed other observations already pointed by reviewers, which which I concur, related to the use of music score, plot and realism. I really wanted to like the movie, but it was a total disappointment to me.
This may be a delight for those who like Angelina Jolie and like to see a beatiful face on screen, but nothing here resembles the unique quality of divine Maria.
For starters, this is the worse lip-sync I have seen in my life in a biopic of a singer, and it was a surprise that a movie supposed to be a first-rate production went ahead ignoring this major failure. After all, singing is to the essence of the film, it is not a secondary scene. And if you want to recreate Callas life using real recordings, the performative effort must be flawless. Of course it is as hard as demanding, but if you want to compare Jolie's playback what a remarkable, well-executed example, please watch La Mome, the biopic about Edith Piaf, and find delight in Marion Cotillard's perfect, unbelievably good execution. (Jolie's lack of sync is as unbelievable.)
Then, the physique du role. Jolie is one of the most beautiful actresses of our time. But it has physical disparities with Callas which cannot be solved with make-up, and the lack of resemblance spoils the effort. Callas's beauty was tempered, life-chiseled, acquired, a result of a deep effort at self-awareness and self-hardening and reshaping her destiny. That kind of subjective process simply «showed» in her regal attitude, and imposing scenic presence. Jolie is a born beauty, her beauty a gift given from the start, and, in my opinion, she did not manage to convey the dramatic depth of Callas's appeal enough as to create the magical impression that we are seeing a credible Callas.
Also, for those who love opera, Jolie's embouchure (the singers' «mouth mould») is a joke, nothing close to the unmistaken bel canto mouth frame which opera singers (and Callas) distinctively employ. It may seem an unimportant detail, but the sum of inconsistencies and lack of attention to detail ends up being irritating.
I have not listed other observations already pointed by reviewers, which which I concur, related to the use of music score, plot and realism. I really wanted to like the movie, but it was a total disappointment to me.
There is this old actors saying in film industry: "It's better to be a working actor, instead of a star",
Actors which often are considered stars, rely on their sex appeal, and personal charisma.
However, as the aging process takes its natural cause, their star power just like with real cosmic stars, burns out and fades away... Therefore being a working actor seems to be better path towards their carrier longevity.
Sometimes actors which are labeled as stars have a huge difficulty to shake off the moniker of a star and in the autumn of their career select projects which are more demanding artistically.
Now, the audiences and critics having them put in a "box", have a difficulty seeing in them something more than a shadow of their former self. However, if given a proper chance, senior actors performance can actually show what they've always were capable of doing, but because of their beauty and sex appeal, they were locked in the image they had to uphold for commercial reasons.
This brings me to 'Maria' a biopic about last week of life of opera Primadonna Maria Callas, which is a part of the trilogy directed by Pablo Larraín together with biopic about Jacky Kennedy 'Jacky' and princess Diana titled' Spenser'. Both lead female performances in previous movies received not only critical acclaim, but also nomination for Oscars.
"Maria Callas is one of the most iconic performers of the 20th century. The film follows the Greek-American soprano as she retreats to Paris after a glamorous and tumultuous life in the public eye, reimagining the legendary diva in her final days as she reckons with her identity and life."
To some extent Pablo's latest biopic seemed to polarize the critics. Some love it and others feel it is rather doll and uneventful. Some critics are extra harsh on Angelina Jolie performance feeling that she does not possess enough internal depth to portrait this complex character without falling into acting clichés.
Apparently Angelina trained opera singing for over half year to be able to try to attempt to vocalize at least in part the mastery of late opera, singing icon. As actors prepare for their roll, especially when the performance is based on a real person, it is ill advised to focus on the characters mannerisms and instead try to convey the inner emotional triggers that the original performer is known for. And therefore the internal approach often takes the charge instead of purely external characterization, which can feel theatrical in medium of film.
Some critics which I personally disagree with points out that although Angelina Jolie portraits the external aspects of Maria Callas character, she does not have enough acting tools to internalize the performance. Apparently between five and 70% of singing has been done by Angelina Jolie herself, which in itself is rather impressive, considering the magnitude of range and talent, the original diva possessed.
This film is mature cinema and what first stands immediately out is absolutely breathtaking cinematography. It has that grand look to it, supported by detailed production and costume design. The camera movement has a mastery to it, with seamless, dolly moves, always creating beautiful depth of field, as camera is tracking the protagonist, revealing a vanishing point that adds depth and three dimensionality to the frame. This aspect in itself gives this film, a feeling of "poetry in motion".
All the supporting performances are rather nuances, with Pierfrancesco Favino as faithful butler and Kodi Smit-McPhee as the documentary filmmaker and Haluk Bilginer as Aristotle Onassis to just name a few.
To larger extent, with 'Maria' Director is leaning towards arthouse cinema in the visual way the story is being shown, and therefore a choice of a lead actress which in her career had a commercial appeal, might be a polarizing casting choice. However I for one, am in the opinion that sometimes actors which are often type casted can break the mold and showcas their true, artistic worth, as it happens in this instant, with this solid performance by Angelina Jolie.
In conclusion, this film is probably best recommended for mature audiences, which are sophisticated enough to appreciate what the Director achieved here.
Again it might not be for everyone's taste, but there is certainly enough quality to justify 2 hours and 4 minutes of your time.
Actors which often are considered stars, rely on their sex appeal, and personal charisma.
However, as the aging process takes its natural cause, their star power just like with real cosmic stars, burns out and fades away... Therefore being a working actor seems to be better path towards their carrier longevity.
Sometimes actors which are labeled as stars have a huge difficulty to shake off the moniker of a star and in the autumn of their career select projects which are more demanding artistically.
Now, the audiences and critics having them put in a "box", have a difficulty seeing in them something more than a shadow of their former self. However, if given a proper chance, senior actors performance can actually show what they've always were capable of doing, but because of their beauty and sex appeal, they were locked in the image they had to uphold for commercial reasons.
This brings me to 'Maria' a biopic about last week of life of opera Primadonna Maria Callas, which is a part of the trilogy directed by Pablo Larraín together with biopic about Jacky Kennedy 'Jacky' and princess Diana titled' Spenser'. Both lead female performances in previous movies received not only critical acclaim, but also nomination for Oscars.
"Maria Callas is one of the most iconic performers of the 20th century. The film follows the Greek-American soprano as she retreats to Paris after a glamorous and tumultuous life in the public eye, reimagining the legendary diva in her final days as she reckons with her identity and life."
To some extent Pablo's latest biopic seemed to polarize the critics. Some love it and others feel it is rather doll and uneventful. Some critics are extra harsh on Angelina Jolie performance feeling that she does not possess enough internal depth to portrait this complex character without falling into acting clichés.
Apparently Angelina trained opera singing for over half year to be able to try to attempt to vocalize at least in part the mastery of late opera, singing icon. As actors prepare for their roll, especially when the performance is based on a real person, it is ill advised to focus on the characters mannerisms and instead try to convey the inner emotional triggers that the original performer is known for. And therefore the internal approach often takes the charge instead of purely external characterization, which can feel theatrical in medium of film.
Some critics which I personally disagree with points out that although Angelina Jolie portraits the external aspects of Maria Callas character, she does not have enough acting tools to internalize the performance. Apparently between five and 70% of singing has been done by Angelina Jolie herself, which in itself is rather impressive, considering the magnitude of range and talent, the original diva possessed.
This film is mature cinema and what first stands immediately out is absolutely breathtaking cinematography. It has that grand look to it, supported by detailed production and costume design. The camera movement has a mastery to it, with seamless, dolly moves, always creating beautiful depth of field, as camera is tracking the protagonist, revealing a vanishing point that adds depth and three dimensionality to the frame. This aspect in itself gives this film, a feeling of "poetry in motion".
All the supporting performances are rather nuances, with Pierfrancesco Favino as faithful butler and Kodi Smit-McPhee as the documentary filmmaker and Haluk Bilginer as Aristotle Onassis to just name a few.
To larger extent, with 'Maria' Director is leaning towards arthouse cinema in the visual way the story is being shown, and therefore a choice of a lead actress which in her career had a commercial appeal, might be a polarizing casting choice. However I for one, am in the opinion that sometimes actors which are often type casted can break the mold and showcas their true, artistic worth, as it happens in this instant, with this solid performance by Angelina Jolie.
In conclusion, this film is probably best recommended for mature audiences, which are sophisticated enough to appreciate what the Director achieved here.
Again it might not be for everyone's taste, but there is certainly enough quality to justify 2 hours and 4 minutes of your time.
¿Sabías que…?
- TriviaAngelina Jolie, refusing to be dubbed and wishing to perform her own singing, took 7 months of opera lessons to prepare for her role. For the scenes set during Callas' heyday, an estimated 90 to 95 percent of Callas' original recordings were used, with Jolie lip-synching along to these songs. However, Jolie's singing comes to the fore during the film's final act.
- ErroresIt is stated that Maria had her first leading role in Venice in 1949, playing the role of Elvira in "I puritani". Actually, it was in Athens in 1942, the part of Marta in "Tiefland".
- Citas
Maria Callas: Book me a table at a café where the waiters know who I am. I'm in the mood for adulation.
- ConexionesFeatured in MsMojo: Top 10 Best Netflix Releases of 2024 (2024)
- Bandas sonorasOtello 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
A Warner Classics Release, (p) 1964 Parlophone Records Limited
Remastered 2014 Parlophone Records Limited
Courtesy of Warner Music Group Germany Holding GmbH, a Warner Music Group Company
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- How long is Maria?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitio oficial
- Idiomas
- También se conoce como
- María Callas
- Locaciones de filmación
- Budapest, Hungría(Opera House, Music Academy, various locations)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total a nivel mundial
- USD 25,388,416
- Tiempo de ejecución
- 2h 4min(124 min)
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1
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