The third film in Pablo Larraín’s melancholic series about solitary women made its debut solely at the esteemed Venice International Film Festival. Chilean director Larraín first premiered his film ‘Jackie’ about Jacqueline Kennedy in Venice, and subsequently unveiled ‘Spencer’, a study of Princess Diana. This festival made a significant contribution to solidifying the myth and fame of Maria Callas. It was here in 1949 that Callas, given a short six-day notice, took over the role of Elvira in Vincenzo Bellini’s I Puritani, and her performance stirred the world of music.
Larraín’s latest creation may not significantly impact Angelina Jolie’s well-established reputation, but it certainly granted her a role that was long awaited. The film features a deeply poignant portrayal by Jolie as Maria, and successfully evokes a profound empathy for the once celebrated diva. The words of Steven Knight’s dialogue ring true: “I took liberties all my life,” “And the world took liberties with me.”
The narrative is set in Paris during the mid-70s. Maria’s only companions are her two faithful servants, a chef portrayed by Alba Rohrwacher and a butler enacted by Pierfrancesco Favino, while she lived in a state of weary seclusion. Maria’s dependency on a number of medications led to her misperceived interaction with a filmmaker, played by Kodi Smit-McPhee, who she named after the well-known sedative Mandrax. The narrative unfolds with her demise, then travels a few weeks back to depict her attempted return to spotlight and her hesitant venture into writing a memoir.
The main plot is peppered with flashbacks that highlight key moments in Callas’s life. Her exploitation during the Nazi occupation in Athens, her notable performances in Venice and elsewhere, all feature in this thread. Those who were captivated by Larraín’s ‘Jackie’ would appreciate the interlinking presence of Aristotle Onassis, a former lover of Callas, who never married her, but who, during a party for JFK, introduces the silent and unseen Jacqueline – his future wife.
Even if you’re not well-acquainted with Callas, you’ll need to make some initial adjustments. Hearing Jolie’s voice echo with such extraordinary vibrancy is a sight to behold. Her magnetic allure is on a distinctively different frequency – no less powerful, though – than the more heavily veneered opera singer. As the mesmerising film unravels, Jolie, who brings vulnerability to her authoritative persona, creates an arresting amalgamation. You start to buy into the possibility of this transformation of Callas within Larraín’s modified universe. Knight, the writer of Spencer too, veers off the beaten path of well-worn clichés. It’s no doubt that Callas is depicted as high-maintenance and difficult here. Nonetheless, the film’s commitment to commemorating loss on a grand, operatic scale drowns out these annoyances.
This expansive life is being consumed now in careful, minute steps through a fall-stricken Paris. Edward Lachman’s camera captures a warm, Kodachrome-gilded amber that complements both the era and the atmosphere perfectly. (It’s the exterior shots that allude most strongly to Last Tango in Paris.) While it’s not entirely accurate to dub Maria a musical, Larraín exhibits the know-how of dramatically presenting an aria. During a stroll through the city, Mandrax jests, “This is the point in the film where you should sing”. A complex performance based on the Humming Chorus from Madama Butterfly fills the screen.
This doesn’t disrupt the beautifully lingering sense of desolation. Among its two prior counterparts, Maria bears a closer resemblance to the mortuary-esque Jackie than the ethereal Spencer. Jolie’s own remarkable fame brings additional sorrowful undertones to the image of a demised deity dwelling in pseudo-luxurious despair.
There will, of course, be dissenters of the film. Not every viewer may accept this transformation. Classical music enthusiasts might well find technical inaccuracies, similar to those they discovered two years ago in Venice with Todd Field’s Tár. (It’s not intended as a slight; all experts typically do the same.) Nonetheless, no one can doubt Jolie’s delicate, outstanding performance. Frankly, it won’t be surprising if she ends up, like Natalie Portman with Jackie, and Kristen Stewart with Spencer, nominated for another Oscar for her portrayal of these desolate women.
Netflix has secured US distribution rights for Maria at the festival’s opening. Up until this point, there’s been no information regarding a possible release date in Ireland.