Callas Forever

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.

Fanny Ardant play very well a difficult role. Maria Callas had a strong personality and the Zeffirelli's work helps to understand the psychology of a woman at the end of the career searching for her tranquillity. In my opinion this movie is the dream of a friend of Maria Callas that wanted the singer return to the scene after the end of an incredible voice. The friend is Franco Zeffirelli. The last words of Maria/Fanny in the movie let to understand Maria Callas never wanted to accept the Zeffirelli's propose to come back to the scene even in different way.

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.

CALLAS FOREVER is a beautifully written, tenderly directed and acted tribute to the immortal Maria Callas by a man who knew her as well as anyone - Franco Zeffirelli. The fantasy of placing Callas on film for posterity in the last year of her life, the year she died of heart failure, when her voice was gone but her artistry remained is the means by which Zeffirelli memorializes the Diva and in every way he succeeds.

The year is 1977 and Maria Callas (Fanny Ardant) is in seclusion in her Paris apartment, grieving over 1) her beloved Aristotle Onassis who left her for Jacqueline Kennedy and then died and 2) her disastrous farewell concert in Japan which ended her magnificent career with a flop. No longer able to sing she lives in the past, listing to her old recordings and taking pills. Only her constant maid Bruna (Anna Lelio) is allowed to comfort her with occasional visits from her warm-hearted publicist Sarah Keller (Joan Plowright).

In Paris for the promotion of a punk group Bad Dreams is Larry Kelley (Jeremy Irons) who has just met and bedded a young artist Michael (Jay Rodan): Kelley had been Callas' agent in her heyday and Michael has been creating paintings inspired by her recordings. Seeing Michael's obsession over Callas whom he has never seen perform forces Kelley to visit Callas, their devotion to each other is 'rekindled' and Kelley proposes a film version of Callas not only to bring her out of her depression but to capitalize on the fact that present and future generations should have a filmed account of the penultimate opera singer of the 20th century.

Callas is recalcitrant at first, not wanting to produce a fraudulent film made using her old recordings dubbed onto the sound track of a current staging, but she finally resolves her hesitancy by granting the filming of 'Carmen', a role she recorded but never played on the stage. Thus the project is launched and Callas is revitalized and happy again, being satisfied with the miracle of technology that allows her to invest her energies in the acting of Carmen while consenting to lip-synch to her old recordings. She even has a say in the casting of the other roles, especially Don Jose - Marco (a very hunky Gabriel Garko, a former model and Mr. Italy!). She retains her temper tantrums and demands for perfection that hallmarked her real career, doing her own dancing, having a say about costumes, etc.

The film is eventually finished and the result is magnificent. There is even some intrigue when Marco shows more than a little interest in her (a hint of the Strauss Marshallin/Octavian encounter). But alas at the end of the film Callas is forced to admit that her youth cannot be regained and decides the film is a 'fraudulent work' is not compatible with her life's devotion to truth in music. She asks Kelley to destroy it. How these two come to grips with their individual lives (Kelley's Michael has left him and he is once again as alone as Callas) is finessed by one of the most tender endings on film.

Fanny Ardant is a miracle as Callas: she inhabits her physically, understands Callas' facial features as she lip-synchs her operas, and seems to be a reincarnation of the Diva. Jeremy Irons gives one of the finest performances of his rich career as the aging gay agent and Joan Plowright adds just the right amount of lightness and grace as Sarah Keller - wise, acerbic, yet supportive of both Callas and Kelley. The scenes of Paris are correctly nostalgic: the sets for 'Carmen' by Carlo Centolavigna create a gold standard for all future true productions of 'Carmen'. The supporting cast is uniformly excellent.

Zeffirelli has succeeded in giving us a memorial to Maria Callas and for that the opera world will be forever grateful. The passages of the many arias used in this film are among the finest versions Callas recorded. Everything about this work is brilliant and it deserves the widest audience possible. Grady Harp

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.