LoeGreen

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.

This film develops along a plot that is as cliche, naive and predictable as is cinematographically possible, with most secondary characters bordering on the ridiculous ( Lautrec's ghost should sue the producers ). And that's not all - Ewan McGregor is the British equivalent to Keanu Reeves, totally uninteresting to watch, his expression of emotions and complexities coming out completely forced and shallow ( and singing worst than the average guy on the street ). But anyway, none of it should matter since this is after all a musical, right ? Well, it is here that things really fall apart. The idea of transforming well known tunes to songs for the Moulin Rouge proves funny on occasion, but generally the songs are worst than the original tunes and there is absolutely no worthwhile original music for the viewer to associate with the movie. No tune to whistle back home or remember the next day's morning. The camera work is mostly awful - it moves so fast in the club scenes that one is never left with any images of dancing or with any rythm, just a mixture of sounds, colours and movement that supposedly provides for the "crazy" atmosphere, I guess, but comes out tiresome and boring.

So we have a musical that is not funny but mostly annoyingly ridiculous, the music leaves us with no impression and no dance to watch and enjoy ( apart for the Spanish dance scene which is rather indifferent ). Then, of course, there is Nicole - she is gorgeous, sings surprisingly well and acts wonderfully, but all in the wrong movie I'm afraid.