Maria

Maria is a solid musical bio pic. A great lead performance from Angelina Jolie holds this movie together pretty well and I admire how much she put into this role, especially the opera singing. The plot is a little messy and the pacing is a tad off but I still think the movie is purely entertaining enough to enjoy and it is also educational about this time period and opera in general. It's a beautifully shot and directed movie. I love the editing and the black and white shots are gorgeous. I think this is a solid film from Pablo Larrain with a potential Oscar winning performance from Angelina Jolie.

I understand the criticism of this movie. The lip synching was indeed terrible. And the writer and director did Callas a personal disservice by focusing on this part of her life, when she was crazy and high and alone. But I don't believe a biopic has a responsibility to show a person's entire life. It can show a portion, if meaningful and true - which this was, even if it was unflattering. The sad decay of a brilliant life is a story worth telling, and this was told with tenderness.

The flashbacks could have added more value and depth by following a linear plot, showing the arc of Callas's career, her great love story and the many sides of her personality. They could have done more to educate viewers about who she was, the complexity of her character and her artistic process. But the director chose instead to play her life back as her own mind might have in those last few days: fragmented, intense last gasps. We see her grapple with pride and regret, asking herself if it was all enough. It's as much a movie about the act of dying as it is about her, and for that I found it beautiful.

Jolie did better than I expected, and I even think she looked like Callas in the black and white scenes. Too beautiful, but Jolie possesses a similar woundedness that translated certain elements sufficiently. While she captured Callas's tortured and demure sides, she did not capture her charisma, temper or ruthless perfectionism. It was a valiant attempt at a role no one could have played perfectly. Callas was untouchable in life, and knowing she still is in death made me love her even more.

In short, the movie was imperfect but its intention was sincere. A deep love for Callas came through that made it worth watching, if you can focus on the story being told instead of the story you wish were being told.

This movie came as a pleasant surprise to me.

It is not only the great,studied performance by Jolie,an actress that hadn't really convinced me of her ability to act up to now. Nevertheless,in this movie,all the self-admiring,borderline narcissistic traits are absent.

Jolie,immerses herself in Maria's fragile, overall declining character and produces a more than convincing portrait worth accolades.

The representation of the era is quite meticulous too.

The really pleasant surprises are the directorial approach and the screenplay.

Focusing on her last week before dying it has a balanced approach to her memories through few flashbacks,her past and current relations,her adoration of music and opera,her failing health,her feeble attempts for a comeback,her warped perception of reality through the use of a slew of barbiturates,her nostalgia,her need for adulation and love. All in proper doses.

A fine two hours spent getting in touch with Maria..not the Callas!!!

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.

I have to say director Pablo Larrain's 2024 entry into his iconic 20th-century women trilogy was a disappointment. It starts with the casting as Angelina Jolie may be too iconic herself to portray supreme diva Maria Callas, the least remembered of the trio, the other two being "Jackie" (2016) and Diana in "Spencer" (2021). Jolie conveys the necessary self-possession to carry off the regal image of the world's greatest opera singer, but physically she looks too skeletal to emulate convincingly the more robust figure Callas struck. Written by Steven Knight, the lugubrious, longish film covers the last week of Callas's life in 1977 Paris, a fictionalized account with inevitable flashbacks that cumulatively plays out like a ghost story. All the production elements like the burnished cinematography and set details are impressively handled, but Larrain's creative choices are more arguable, for example, the hallucinogenic images of choruses of people singing back to her in public spaces. There is the ambiguous role of an interviewer (opaquely played by Kodi Smit-McPhee) with the same name as her prescription medication who forces her to confront her legacy. Some of the flashbacks signal more intriguing elements to her story like her rather inchoate relationship with Aristotle Onassis, her traumatizing encounters with Nazis when she was a child, and an intriguing conversation with JFK (played by Caspar Phillipson cast in the same, somewhat inconsequential role in "Jackie"). Her cloistered existence is leavened only by two devoted servants played poignantly by Pierfrancesco Favina and Alba Rohrwacher. Still Jolie's star power has a showcase befitting of her singular talent to convey hubris and vulnerability at almost the same time.