“Maria,” directed by Pablo Larraín, focuses on the life of the renowned American-born Greek soprano Maria Callas, starting on September 16, 1977, the day she dies. The film opens with Callas, frail and wearing a white nightgown, collapsed on the floor of her lavish Paris apartment. It then flashes back to her last week, interspersed with significant moments from her past, leading to a narrative that captures her descent into despair.
Set against the backdrop of a stunning apartment reminiscent of a royal French court, the film marks Larraín’s third exploration of a prominent female figure, following “Jackie” and “Spencer.” In all three stories, the characters’ residences play a crucial role, symbolizing their confinement. While Jackie Kennedy resided in the White House and Princess Diana at a royal estate, Callas’ luxurious surroundings feel more like a self-imposed prison.
Callas copes with her turbulent days by relying on a mix of pharmaceuticals, including the illegal sedative Mandrax, and neglects her eating, alternating between starvation and her desire to maintain a slim figure. Her obsessive behavior extends to the two individuals who care for her—her housekeeper Bruna and her chauffeur Feruccio—whom she treats as mere attendants. She avoids her doctor and is haunted by visions of her former lover, Aristotle Onassis.
At 53 years old, Callas has not performed publicly in over four years, yet the film portrays her as an artist whose life is defined by her operatic talent. The soundtrack features operatic compositions from notable Italian composers, showcasing Callas’ extraordinary abilities. However, she is tormented by her past perfection, dreading the expectations of audiences and lamenting her inability to perform at her former level.
The story portrays the myth of La Callas as both a source of inspiration and a prison for Maria. The film presents her as a tragic character, trapped by the decline of her revered artistry. This contrasts with the triumphs depicted in “Jackie” and “Spencer,” where the central figures emerge with strength despite their bleak circumstances.
While “Maria” showcases Larraín’s artistic vision and empathy, it carries a tone of fatalism that detracts from its impact. Yet, Angelina Jolie’s performance as Callas commands attention, combining the traits of a genius diva with those of a complex femme fatale.
The film is visually arresting, using warm autumnal lighting, with flashbacks that deepen the narrative yet leave questions unanswered. Key flashbacks detail Callas’ tumultuous past, including her relationship with Onassis, portrayed as a captivating yet manipulative figure.
Ultimately, “Maria” encapsulates the weight of Callas’ determination, revealing a character consumed by her art and haunted by her legacy. While glimpses of her past performances hint at her brilliance, the film leaves viewers with a sense of loss, as the exploration of Callas’ life appears to drain the vitality from its narrative.