Saturday, October 19, 2024

MARIA***** - BFI London Film Festival 2024 - Day 10


Pablo Larrain's MARIA is a stunning film about iconic opera singer Maria Callas featuring a central performance by Angelina Jolie of such fragility and bravery that it destroyed me. It's a cinematic achievement at least on par with Larrain's Jackie Kennedy biopic, and arguably surpasses it. Every aspect is perfection.

The film focuses on the final week of Callas' life, sequestered in a grand Parisian apartment with her faithful housekeeper and butler (Alba Rohrwacher - HUNGRY HEARTS and Pierfrancesco Favino - WORLD WAR Z). Callas is dying of liver failure, ligament failure and is addicted to a variety of drugs.  Illness, dramatic weight loss, over-singing in her youth - whatever the reason - her voice has also failed her.  Publicly she claims that she will never perform again, but she is secretly rehearsing, with pitiful results. Added to the loss of her voice, we also know that she is suffering from heartbreak. Her big sister (Valerie Golina - PORTRAIT OF A LADY ON FIRE - in a deeply moving cameo) tells Maria to look forward but this entire film is of a woman trapped in her past.  Her mother pimped her out as a singer in Nazi occupied Athens and maybe more. Her first husband robbed her blind (though this is not shown here).  Her beloved Aristotle Onassis (Haluk Bilginer - The Turkish Detective) stopped her from singing, maybe made her have a forced abortion, and then left her for Jackie Kennedy.  Only her paid employees show her any love or concern for her health.

Robbed of love and health and finally her voice, Maria retreats into a drug-induced journey through her past.  Her drug Mandrax is personified by Kodi Smit-McPhee (Disclaimer) as a young interviewer. As befits a woman who has been a public persona her entire life, Maria chooses what to withhold, and what narrative to spin. She is deliberately enigmatic and mysterious. But this is a kind of defence mechanism and an act of desperation, and her spin is unsuccessful, not least in the way she discusses her maybe pregnancy.

Angelina Jolie is magnificent and fearless in this role.  Her final aria sung in a nightdress to an empty apartment (and a crowd outside, unknown to her) had me in tears. We believe in every ounce of lifelong heartbreak.  She is a diva and she is desperate. She is vulnerable and commanding all at once. Kudos to the technical team who found a way to blend Jolie's own singing with Callas' iconic recordings, particularly in her final week, where her voice is unsteady and uneven. I always believed that Angelina was singing, and this is no mean feat. We see her lips and vocal chords and body tremble and convey emotion.  It absolutely makes the film credible and moving.

Kudos also to cinematographer Ed Lachman (CAROL) for so beautifully capturing sunlit 1970s Paris, but also the crisp black and white flashbacks to Callas at her peak, and the grainy dreamed interviews with Mandrax.  This is a film whose technical brilliance is completely at the service of the narrative. And what a narrative.  Steven Knight - of Peaky Blinders fame - creates a script that in a short time gives us a lifetime of pain and hurt. And that uses music, always Callas' own music - to express her feelings and propel the narrative. For those of us who know these aria by heart, the lyrics, the knowledge of Callas' life, and Jolie's performance, blend into something transcendent.  

My only question is whether the film will work as well for those not familiar with Callas' work, given Pablo Larrain's refusal to give subtitles and translations of the opera. He explained before the screening that he tried to avoid surtitles when watching opera as a child and wanted to relate purely to the performance. I kind of agree, but feel this may be a barrier to some audience members.

MARIA has a running time of 124 minutes and is rated R. It played Venice and London 2024. It will have a limited theatrical release on November 27th and then will be released on Netflix on December 11th.

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