For nearly a decade, Chilean director Pablo Larrain has been inspired by the poignant moments in the lives of some of the most influential women in the 20th century.
In his latest offering 'Maria', Larrain portrays the final days of the great opera singer, Maria Callas’ life.
Set in Paris, 1977, in the week leading up to Maria Callas’ death, Maria, who for years was the recipient of applause from adoring crowds in some of the world’s greatest opera theatres, dubbed La Divina (The Divine) is now a recluse. She resides in her Parisian apartment with only her loyal butler Feruccio (Pierfrancesco Favino), her attentive housemaid, Bruna (Alba Rohrwacher) and pet dog. It’s been years since she last performed, and Maria is now considering returning to the stage; much to their concern of her house staff who are concerned over her declining health. Regardless, she begins singing lessons and invites a television crew to document her comeback. During her interviews, Maria reflects on her tumultuous relationship with her mother, her great love affair with shipping magnate, Aristotle Onassis and the highs and lows of her professional career, all while her health declines and the concerns of her house staff deepen.
Larrain’s collaborative relationship with Natalie Portman and Kristen Stewart in the past, led to career-defining performances from both and his work here with Jolie is no exception. In the same way Portman and Stewart perfected the nuances, voices and mannerisms of their subject matters, Jolie has successfully done the same. Her present-day Maria is frail and deflated but retains some of the wit and sharp tongue-ness that is evident in historical videos of the great Callas. One can’t help but see parallels between Jolie and Callas’ own life and seeing how Jolie’s own experiences as one of the world’s biggest stars, making a comeback after a highly publicised split, would have impacted her portrayal as an older Maria. Jolie also sings in the role; with her voice blended with Callas’ own. The scenes are deeply moving as Jolie’s Callas struggles to reach the vocal prowess she had earlier on in her career. However, her portrayal of a younger Maria (during black and white flashback scenes) tends to lack some of the vivaciousness and earthiness that is seen in the archival footage played over the end credits.
The film is predominantly Jolie’s and as the star and acclaimed performer that she is, she is alluring to watch even in Maria’s broken and softly spoken moments; yet she holds the magnetism of a star during the scenes where she elegantly graces the streets of Paris as waiters, paparazzi, pedestrians and bartenders take notice. Italian performers Rohwacher and Favino are playing against type of their usual characters here. Favino is known to Italian audiences for his fiery, heroic characters and action-packed roles; but is delightful as Callas’ protective butler; while Rohwacher, who is known for her portrayals of more lively, fiery and confident women, is playing against type and arguably much older than usual as the sweet, delicate and loyal Bruna.
In addition to Jolie’s stellar performance, the other major standout is Massimo Cantini Parrini’s exceptional costumes. From Maria’s stunning suit ensemble as she ventures around Paris, to the breathtaking costumes during the reenactments of her international opera career. Each is a welcome easter egg for any Maria Callas or opera fan as they spot homages to her most iconic roles.
While most directors fall into the trap of capturing a person’s entire life when helming a biography; Larrain’s tactic of focusing on a very specific period once again proves to be more deeply effective and more structured as a narrative. The use of flashbacks help fill in the blanks without appearing jarring.
Like Larrain' s previous films, 'Maria' is a powerful character study. The film is deeply moving and provides an intimate look at the quiet moments in the life of a woman who was celebrated but also exploited for her voice. Once again, he takes a subject that for years was celebrated as divine and other worldly, and reminds us that despite her exceptional talents, the myths, the legends and the rumours around her, she too was like any of us – a human – with faults, with flaws and with dreams.
