A Haunting Portrait or Just Another Gilded Cage?
Released on November 28, 2024, Maria continues Pablo Larraín’s fascination with tragic female icons. The Chilean director, known for his explorations of famous yet tormented women, first gave us Jackie (2016), capturing the sorrow of Jacqueline Kennedy, followed by Spencer (2021), which delved into the psychological turmoil of Princess Diana. Now, he turns his lens to Maria Callas, chronicling the opera legend’s final week in her Parisian apartment.
A Director’s Obsession with Isolated Glamour
With Maria, Larraín seems to complete his so-called “Tragic Divas” trilogy, though there’s no clear reason why he should stop here. His formula—beautiful women trapped in their own personas—could easily be extended to other historical figures. The themes remain the same: a golden cage is still a prison, and fame does not shield against loneliness. His signature approach of lingering on his actresses’ expressive faces, hoping to unveil complex inner worlds, is evident once again. While this technique has won his films critical acclaim and festival recognition, one wonders if it adds anything new to the conversation.
The Story: A Week in Isolation
Larraín, an opera enthusiast, finds a dramatic setting in Maria Callas’ reclusive final days. By 1977, Callas had lost both her voice and the love of her life, Aristotle Onassis (who had controversially married Jacqueline Kennedy). She withdrew into solitude, accompanied only by her maid and butler. The film presents a hazy, dreamlike version of these days, hinting at her reliance on Mandrax (a sedative known as Quaalude in the U.S.), suggesting her health deteriorated due to addiction. Callas wanders through Paris, attempts to sing, converses with her sister, and interacts with a television journalist named—rather unsubtly—Mandrax, raising the question of whether he, and perhaps everything else, is merely a hallucination.
Angelina Jolie as Maria Callas
Casting Angelina Jolie as Maria Callas is both an obvious and risky choice. Jolie, an undisputed Hollywood diva, fits the bill as a larger-than-life figure. Visually, in carefully framed shots, she sometimes uncannily resembles Callas, particularly in the black-and-white flashbacks that reconstruct the singer’s past. However, when she moves and speaks, the illusion falters. Callas, known for her fragile yet commanding presence, is a stark contrast to Jolie, whose screen persona has always exuded strength. Whether in action films like Salt or in dramatic roles, Jolie’s innate power and defiance make it difficult to fully buy into her portrayal of a fading, vulnerable Callas. Larraín’s aesthetic choices—long, static takes and introspective close-ups—help maintain the illusion but can only do so much.
A Visually Stunning but Hollow Experience
One of the film’s major pitfalls is its uneven treatment of Callas’ struggles. Larraín’s fascination with visual poetry sometimes overshadows narrative coherence. We see Callas in elegant gowns, at glamorous events, and burning her stage costumes in a dramatic gesture—only to later see them showcased in full splendor. The film lingers on her image like a paper doll being dressed in different wigs and outfits, yet it never fully breaks through to the raw reality of her suffering.
Then there’s the issue of Mandrax. The film suggests that Callas, despite heavy sedation, moves through Paris in a near-manic state, engaging in surreal encounters and hallucinations. This portrayal clashes with medical reality and raises doubts about whether Larraín understands the true effects of the drug. Callas’ swings between despair and flamboyant attention-seeking feel more like an artistic contrivance than an authentic psychological exploration.
Final Verdict
Maria is undeniably a beautifully crafted film, featuring striking cinematography and a haunting performance by Jolie—at least in stillness. But beyond its aesthetic allure, it struggles to connect with the deeper essence of Maria Callas. Larraín seems more interested in the spectacle of her suffering than in genuinely understanding her as a person. While the film will likely resonate with those drawn to his signature style, it ultimately feels like a missed opportunity to truly capture the essence of one of opera’s greatest legends.
Watch Maria 2024 on eBravoapp.