Callas por siempre

This film arrives two years after it was released in Europe. Frankly one doesn't know who to blame for a movie that leaves the viewer confused about who the real Maria Callas was. Franco Zeffirelli should have known better. He was around when Callas was at the peak of her career. To team up with Martin Sherman in this shameful travesty it's a betrayal to her memory.

The thing that comes clearly in the film is Maria Callas' sense of professionalism and perfectionism she asked of herself and the ones involved in any project she undertook. Alas, what we watch is the sad final days of a woman who threw everything away for the love of Ari Onassis, who didn't deserve.

Fanny Ardant, at times looks like Maria, but there is a problem with her distinct French accent because we all know Maria Callas was born in New York and her command of English, was impeccable. Jeremy Irons also appears as the manager.

To catch the art of Maria Callas at her best, one must check "Medea" directed by Pier Paolo Pasolini. Callas comes across as the great actress that she was.

This is a masterful film; I caught it at a gay film festival, but I don't understand why it hasn't been released. From the opening scenes with Jeremy Irons as an agent and a punk rock song playing in the background, you know you'in in the hands of a masterful storyteller. Zeffirelli structures the plot as the creation of a masterpiece that got away; a fictional film version of "Carmen." The conceit of the film is that Callas (late in her life) has been persuaded to make a film of Carmen (a role she had only recored but never sung). Since her voice is past its primew, she lip-syncs herself. This brilliant premise allows Fanny Ardant (who is simply brilliant as Callas) to lipsync to old Callas recordings. It also enables Zeffirelli to include several spectacular scenes from "Carmen" as part of the plot. I would rank this among the very best films about opera ever made.

This movie is very beautiful. It's plot is essentially a fantasy by Zeffirelli, revolving around the idea of Callas starring in a film production of Bizet's Carmen, at a time when her life was drawing to it's close and her magnificent voice had been reduced to a painful echo of it's former glory. This setup is completely imaginary - Zeffirelli, of course, being intimate with Callas, having worked with her on a number of productions - and although Callas is at the focal point of the story, one can safely assume that this movie is as much about Zeffirelli himself as it is about the great diva.

The film's main characters - the aging artist, the agent, the film critic - are mainly used to explore themes familiar to those living the life of artistic creation; the fading of creative powers, the meaning of integrity in art, the influence of money and publicity, love and the beauty of youth. This is Zeffireli speaking here, making use of one of the most expressive voices ever heard, to express feelings of his own.

It is is better not to approach this movie guided by expectations of absorbing revealing biographical elements. Though Ardant convincingly depicts the arrogance and overbearing personality which were often present in Callas' behaviour - with a few very convincing tantrums thrown in - there is a sentimentality projected that is more of a wishful thinking than factual characterization; one can hardly imagine Callas enjoying herself in an impromptu picnic in a park, surrounding herself with nothing but carefree informality. But the movie is very strong on most aspects; the directing is fabulous, both in it's pace and in it's settings, and the acting - Jeremy Irons in particular - is truly exceptional. And then it's the music - wonderful singing from Callas' voice, coupled with scenes from a very spirited production of Carmen where Ardant gives a convincing performance in a very demanding part.

For some people the movie will prove somewhat unsatisfying, the more so if one focuses exclusively on Callas at the cost of ignoring other nuances and ideas, and the sheer pleasure of listening to the music and singing. But it is definitely recommended to watch, and for opera lovers it is a must see.

Maria Callas was an artist of such magnitude that it seems impossible for any filmed biography to do her justice. Besides, who could really play Maria Callas? Well, the actress featured here does as well as anyone else could, which is, I guess, adequate. Of much greater importance is the banality of the story. I can't imagine Maria Callas in the 1970's even considering doing what the film suggests. By 1965, it was painfully obvious that Callas, despite her glamorous image and appearance, could never, even at age 41, have reconstructed her once fabulous voice, a voice which in its prime could accomplish miracles. In any case, it is folly to suggest that Callas would have elected to do a film version of "Carmen" ( a role she never cared for) with a dubbed recording she had made years earlier. I could see "Norma", "Tosca" or "Traviata", but never "Carmen". Larry Kelly actually died several years before Callas, so his presence here is pure fiction ------- which is what the film actually is. As a way to pass 108 minutes, the film is adequate, but if you're looking for a documentation of Maria Callas in her final years, you will have to keep looking. I doubt whether you will ever find what you are looking for because it seems highly unlikely that the real Callas, ever the elusive firefly, will ever be captured and preserved.

Gallic actress Fanny Ardant is an inspired choice to play Maria Callas, and with her uncanny physical and likely temperamental resemblance, she plays the legendary soprano with real brio and scenery-chewing style. I would not have expected anything less in such a fanciful telling of a what-if scenario that sprouted out of director Franco Zeffirelli's fertile imagination. Zeffirelli is no stranger to the extravagant and visually resplendent as he helmed the Burtons-at-play 1967 "The Taming of the Shrew" and the much-beloved, age-appropriate 1968 version of "Romeo and Juliet". His long-time professional relationship with Callas provides the basis for this fantasy where in 1977, she is drawn out of self-imposed exile and into the limelight one last time by a fictitious concert promoter, Larry Kelly, who had long ago decided to forego opera for the more lucrative world of punk rock. Sporting a silly ponytail, Jeremy Irons portrays Kelly as a predictably irascible character who mercurially worships and degrades her as the circumstance dictates, a variation on the character he would play in "Being Julia". This time, his character is gay, of course, probably to avoid any element of romance that would detract from Callas' obsession with preserving her legacy.

Kelly's idea is to film her while acting out famous operatic roles on a sound stage and lip-synching the words, whereupon sound engineers would graft her recordings of some 22 years earlier onto the sound track. The series is to be called "Callas Forever" and starts with Bizet's "Carmen". After a rapid series of contrived scenes that resuscitate Callas from her Paris apartment seclusion back to international press attention, the film finally catches fire with the scenes that create the opera production itself. This is where Zeffirelli really shines as he makes Ardant look and act strikingly like Callas at her most passionate and charismatic. She is, of course, adored by her colleagues (in particular, an admiring young tenor playing Don Jose, as embodied by Gabriel Garko) and seems on the brink of a renaissance. Alas, it is the completion of this production that inspires Zeffirelli, along with co-writer Martin Sherman, to take the plot to the height of soap opera banality. Basking in her newly reborn confidence, Callas wants to take on Puccini's "Tosca" with her real voice, an idea supported blindly by Kelly but rejected by her backers. Instead of being crushed, she seems resigned to her legacy and insists that her "Carmen" be destroyed as she deems it a fraud.

That she comes to this realization after the fact is one of the central conceits of the film since it implies she has been cavalier about the efforts around her who did believe in her, but I suppose that is what diva behavior is all about. After all, at the beginning, Callas is portrayed as a pill-popper who feels sorry for herself as a has-been, her voice shot during an infamous tour in Japan, and as the rejected paramour of Aristotle Onassis, who cast her aside to marry Jackie Kennedy. Throughout the movie, she is haunted by her former voice with ghostly visions of her stage triumphs. These kinds of excesses seem appropriate to this kind of tribute film, but it all feels so predictably over-the-top. Sadly, Joan Plowright stereotypically plays a music journalist as a wisecracking, truth-bearing confidante that Thelma Ritter would have played with greater aplomb in the fifties. There is a persistent clunkiness to Zeffirelli and Sherman's screenplay and an overall lack of subtlety that can only be blamed on Zeffirelli's heavily ornate, Baroque film-making style. The DVD is short on extras as there is no audio commentary track, but it does include a brief making-of featurette, additional interview excerpts with Zeffirelli and the principal players and several trailers including the one for the movie.