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Currently pursuing a film career with a passion for film journalism, storytelling of any kind has allowed me to let my imagination run wild in ways even I couldn’t predict. Expect me to write about film, TV, and the entertainment industry.
Maria Callas (Angelina Jolie, The Eternals), an iconic opera singer of the 20th century, retreats to Paris after the diva has lived a glamorous life in the public eye. Coming to Netflix, Maria reimagines the legendary American Greek soprano in her final days before death. Between a series of interviews attempting to capture her life of stardom and her determination to recover her voice to go on tour again, the diva reckons with her identity and life.
The Complexities of Imposter Syndrome
The human spirit yearns for the love and appreciation of others. We do everything in our power to gain people’s admiration to the point of perfecting one’s craft and skills. Yet, when we earn their respect, it doesn’t seem to fulfill us. Even being able to buy a car, expensive clothes, or a new phone should be something to be grateful for. However, we are often met with a sense of guilt for affording things others cannot. At least, I am. No matter how good you are in your profession, imposter syndrome is very real, leading to depression. If anything, receiving praise makes matters worse, and if this is true for your average Joe, then imagine what it’s like for a public figure as a successful musician. One could argue this happened with Bradley Cooper’s Maestro on Netflix last December. That’s what director Pablo Larraín’s Maria explores.
We could spend time debating whether or not Larraín’s portrayal of the opera singer is accurate. Though that’s important in a biopic, it’s ultimately meaningless when dissecting the film for what it is rather than what it’s not. As somebody who knew little about the musician, I thought Maria stood on its feet as a tale of reminiscence. Films centered on artists typically focus on their obsession with leaving a legacy behind. Brady Corbet and Mona Fastvold’s The Brutalist, though fictional, would fall under this category. Maria touches on these themes of legacy, but it is more about becoming disillusioned with your work, about a feeling you no longer have in you rather than creating something from scratch with a lasting impact.
Embodying a Charismatic Diva
Angelina Jolie makes you forget you’re watching one of Hollywood’s great movie stars. She fully embodies this diva’s charisma, voice, and sense of regret and self-loathing, at least according to Steven Knight’s somber script. Jolie injects an almost bratty teen vibe into the role. The actor makes us believe Maria is a prideful woman who carries herself with elegance while also throwing the occasional tantrum over the positioning of furniture in her home. She highlights Maria’s insecurities with great subtle effect. In one moment, she’ll be the most confident person in the room, and in the next, she’ll be on the verge of tears. Other than Mikey Madison for her work in Anora, Jolie delivers an Academy Award-winning performance that is heartfelt, not Oscar-baity.
Pierfrancesco Favino (The Count of Monte-Cristo), playing opposite Jolie as her butler Ferruccio, and Alba Rohrwacher (La Chimera) as the housekeeper Bruna, inject heart and sincerity into the film. They are Maria’s support system. The old friends reconnect Maria to her humility and remind the audience she is just as vulnerable as anyone else. Kodi Smit-McPhee (The Power of the Dog, Memoir of a Snail) portrays an engaging role. He is both the eyes of the audience and of the filmmakers. He represents the audience’s curiosity in learning more about Maria while also being a token character for Larraín and his crew, idolizing her artistry and diva persona. As a result, Smit-McPhee doesn’t get much character development, though he makes the most out of his screen time limitations.
Dreamy Visuals
Edward Lachman’s cinematography is easily amongst the best in 2024. The film portrays Maria’s memories in black and white to differentiate those moments from the present-day struggles she experiences, which are in color. By having the flashbacks be in black and white, Lachman paints a dreamy picture of easier times that are filled with dread, representative of the opera singer’s resentment of what could have been if she had allowed herself to love an old fling openly. Paired with production designer Guy Hendrix Dyas’ set pieces, which shine in the opera houses and Maria’s lively yet empty home, these visual elements make Maria feel like a devastating ghost story of regret.
Final Thoughts on Pablo Larraín’s Maria
With Maria, Pablo Larraín closes off his unofficial trilogy of tragic ladies throughout history that started with Jackie and Spencer. In my eyes, no version of Maria could have surpassed what Larraín achieved with Kristen Stewart in Spencer. That film’s sense of emotional isolation is singular in a heart-wrenching manner. Though, Maria is still an impressive display of the director’s capabilities as a sensitive storyteller who knows how to balance tenderness and uneasiness.
4/5 stars
Maria is now streaming via Netflix!
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Currently pursuing a film career with a passion for film journalism, storytelling of any kind has allowed me to let my imagination run wild in ways even I couldn’t predict. Expect me to write about film, TV, and the entertainment industry.
This article was edited by John Tangalin.