bodyType

customContents

entityId

entityUuid

articlePageQuery

filter

article

articleBaseAdvertisingInfoArticle

articleListArticle

articleSeoArticle

helpersCheckIsPostiesArticle

hooksArticleAcknowledgementGateOverlayArticle

hooksTrackPageViewArticle

hooksContentInterestArticle

articleLinkingDataContent

articleSchemaContent

liveArticle

advertZone

sentiment

contentLock

topics

types

sections

moreOnThisArticles

urlAlias

commentCount

sponsorType

authorLocations

authors

paywallTypes

corrections

displaySlideShow

multimediaEmbed

printHeadline

seriesContainer

socialHeadline

headline

flag

firstTopic

glossary

flattenTypeIds

publishedDate

additionalInfoBoxes

images

image

relatedLinks

relatedNewsletters

__typename

createdDate

sponsor

factSheets

series

knowledgeQuestion

disableOffPlatformContent

published

updatedDate

summary

subHeadline

body

keywords

copyrighted

customTimezone

liveContents

James Mottram

4/5 stars
Just as he did for his earlier biopics Jackie and Spencer, Pablo Larraín picks a moment in time to focus on the legendary opera singer Maria Callas. In this case, it is the week leading up to September 16th, 1977, when she died of a heart attack aged 53.
Her voice long since in decline, Callas (Angelina Jolie) lives alone in Paris, in her luxury flat, with just her dogs and her housemaid, Bruna (Alba Rohrwacher), and her butler Ferruccio (Pierfrancesco Favino), for company.
Maria, which premieres in competition at the Venice Film Festival, is a delicate, detailed drama, and one of Larraín’s best.


Reflecting on her past, particularly her marriage to Greek shipping magnate Aristotle Onassis (Haluk Bilginer), the script by British writer Steven Knight (who also penned Spencer) uses an intriguing conceit.
A television crew is meant to be visiting Callas, but the interviewer is a figment of her drug-addled imagination, which becomes clear when the reporter (Kodi Smit-McPhee) introduces himself as “Mandrax”.
Still, Callas’ seven days before her death also see her attempt to see if her failing voice still has the strength to carry the demands of Puccini. “That was Maria. I want to hear La Callas,” says the pianist, who hopes to help her find it again.

Despite her failing health, the film shows that the “rebellious” Callas never lost her confidence, her swagger, her presence. “I come to restaurants to be adored,” she says, after shouting at an admirer for daring to say she broke his heart when she cried off sick for a performance.
Jolie, who last made a film three years ago, Marvel movie Eternals, has not enjoyed a role this substantial since her Clint Eastwood collaboration Changeling back in 2008.
Various flashbacks shows Callas on stage performing, with Jolie perfectly emulating her posture and breathing (the voice is largely Callas’ own but, according to Larraín, there is always a “fragment” of Jolie’s).

At times the film weaves its tendrils into Larraín’s Jackie, especially with the appearance of Caspar Phillipson, who plays US President John F Kennedy in both films.
Ultimately, Maria is a perfectly engraved snapshot of one of the greatest opera singers of all time, as she reaches the end of the road. It is not perhaps as moving or emotional as you might hope – at times it feels like watching something behind glass – but it is an elegantly assembled work.
Larraín truly understands and captures the allure of this icon of 20th century culture.
Want more articles like this? Follow SCMP Film on Facebook


October 7 widow on her film at Hong Kong Jewish Film Festival: art has a way of healing

Before seeing Red One, 10 classics about Santa Claus in peril for Christmas with a twist

Weekend in Taipei movie review: Luke Evans, Gwei Lun-mei in Luc Besson-produced action dud

Why no US release for Palestinian-Israeli documentary hailed as one of 2024’s best?

European cinema

Venice 2024: Maria movie review – Angelina Jolie shines in delicate opera singer biopic

Angelina Jolie as Maria Callas in a still from Maria (category TBC), directed by Pablo Larraín. Photo: Pablo Larraín

Angelina Jolie in a still from Maria, a film about legendary opera singer Maria Callas. Photo: Pablo Larraín

Angelina Jolie in a still from Maria. Photo: Pablo Larraín

Venice 2024: Beetlejuice Beetlejuice movie review – Tim Burton revisits his fantasy comedy

Michael Keaton in a still from Beetlejuice Beetlejuice. Photo: Parisa Taghizadeh/Warner Bros. Entertainment Inc.

Winona Ryder (left) and Michael Keaton in a still from Beetlejuice Beetlejuice. Photo: Warner Bros. Entertainment Inc.

Monica Bellucci in a still from Beetlejuice Beetlejuice. Photo: Warner Bros. Entertainment Inc.

(From left) Catherine O’ Hara, Jenna Ortega, Winona Ryder and Justin Theroux in a still from Beetlejuice Beetlejuice. Photo: Parisa Taghizadeh/Warner Bros. Entertainment Inc.

The Killer movie review: John Woo’s gender-flipped remake of his action classic is a dud

Omar Sy and Nathalie Emmanuel in a still from The Killer, directed by John Woo. Photo: Christine Tamalet/Universal Pictures International

Nathalie Emmanuel and Omar Sy in a still from The Killer.

Omar Sy in a still from The Killer. Photo: Thibault Grabherr/Universal Pictures International

Blink Twice movie review: Channing Tatum stars in Zoë Kravitz’s thrilling directing debut

Channing Tatum as Slater King in a still from Blink Twice. Photo: Amazon MGM Studios/Amazon Content Services LLC

Naomi Ackie (left) as Frida and Adria Arjona as Sarah in a still from Blink Twice. Photo: Carlos Somonte/Amazon Content Services LLC

Channing Tatum as Slater King and Naomi Ackie as Frida in a still from Blink Twice. Photo: Carlos Somonte/Amazon Content Services LLC

Borderlands movie review: not even Cate Blanchett can save this video game adaptation

Cate Blanchett (left) as Lilith and Ariana Greenblatt as Tiny Tina in a still from Borderlands. Photo: Lionsgate

Cate Blanchett as Lilith in a still from Borderlands (category IIA), directed by Eli Roth. Kevin Hart and Edgar Ramírez co-star. Photo: Katalin Vermes/Lionsgate

Kevin Hart as Roland in a still from Borderlands. Photo: Murray Close/Lionsgate

(From left) Kevin Hart as Roland, Jamie Lee Curtis as Tannis, Ariana Greenblatt as Tiny Tina, Florian Munteanu as Krieg, and Cate Blanchett as Lilith in a still from Borderlands. Photo: Lionsgate

Deadpool & Wolverine movie review: Ryan Reynolds, Hugh Jackman bring the MCU back to life

Ryan Reynolds (left) as Deadpool/Wade Wilson and Hugh Jackman as Wolverine/Logan in a still from Deadpool & Wolverine. Photo: Jay Maidment/20th Century Studios and Marvel

Hugh Jackman (left) as Wolverine/Logan and Ryan Reynolds as Deadpool/Wade Wilson in a still from Deadpool & Wolverine (category: III), directed by Shawn Levy. Photo: Jay Maidment/20th Century Studios and Marvel

Emma Corrin as Cassandra Nova in a still from Deadpool & Wolverine. Photo: 20th Century Studios and Marvel

Hugh Jackman (left) as Wolverine/Logan and Ryan Reynolds as Deadpool/Wade Wilson in a still from Deadpool & Wolverine. Photo: Jay Maidment/20th Century Studios and Marvel

Lifestyle

Entertainment

Culture

Film & TV

Eternals’ Angelina Jolie is alluring as Maria Callas, one of the greatest opera singers of all time, in Pablo Larraín’s detailed drama


Pablo Larraín’s elegant Maria stars a stunning Angelina Jolie as Maria Callas, one of the greatest opera singers of all time, and tells the story of the final week before her fatal heart attack.


American cinema

Film reviews

Cinema

Fame and celebrity

Hollywood

Venice Film Festival

Angelina Jolie

An assessment or critique of a service, product or creative endeavour.  Film reviews, restaurant reviews, reviews of art exhibitions. (Eg. Crazy Rich Asians: an important film, yes, but a good one?)


Review

Review | Venice 2024: Maria movie review – Angelina Jolie shines in delicate opera singer biopic

Eternals’ Angelina Jolie is alluring as Maria Callas, one of the greatest opera singers of all time, in Pablo Larraín’s detailed drama