User reviews

I come at this from a different angle. I was an opera singer for many years, and I did an E! Mysteries and Scandals about Maria Callas.

Though Angelina Jolie is luminous in the role, this was not really representative of the real Maria Callas. This is the fault of the script and the approach of the director.

First, I could have used more music instead of most of it being in the background. We see an audience standing and screaming "Bravo" after "Qui la voce." Except we didn't hear "Qui la voce," just a few bars and none of the coloratura.

This aloof attitude Callas had during her interviews, etc. Was not Maria. The interview she gave John Ardoin, where she asked that the tapes not be played until she was dead, with the most heartbreaking thing you would ever hear in your life. She was miserable, codependent, and never got over her relationship with Onassis. She was a very damaged woman. I really did not get a lot of of that from this film. Just an opinion.

There were also inaccuracies, but that's to be expected in a script that has to telescope a life.

Maria Callas was a great artist and a deeply complicated human being. This film did not come close to who she was.

The surprise of this glum biopic is at the end credits that show the real Maria Callas. And she's smiling! She's laughing! She's even...gasp...having fun!! Amazing, since, with the exception of a scene toward the end where she's playing cards with her butler and cook, you can get old waiting for a light moment from this misery fest. And when director Pablo Lorrain isn't drowning you in doom (the film should have been titled "Death In Paris") scenarist Steven Knight is showering you with pretension in dialogue that is excessively florid even by the standards of folks who make their living in opera.

So once again we have a biopic of a creative near genius without the creativity or the genius. Just endless self pity and self destruction. If it were not for the considerable acting talents of Ms. Jolie this thing would be utterly unwatchable. Well, that's not really true. Cinematographer Ed Lachman's beautiful evocation of the city of light makes it eminently watchable. And the music, of course, is heart breakingly lovely. But then Lorraine and Knight have to go and muck things up again with their relentless rain cloud of a movie. Give it a C plus.

I have to say director Pablo Larrain's 2024 entry into his iconic 20th-century women trilogy was a disappointment. It starts with the casting as Angelina Jolie may be too iconic herself to portray supreme diva Maria Callas, the least remembered of the trio, the other two being "Jackie" (2016) and Diana in "Spencer" (2021). Jolie conveys the necessary self-possession to carry off the regal image of the world's greatest opera singer, but physically she looks too skeletal to emulate convincingly the more robust figure Callas struck. Written by Steven Knight, the lugubrious, longish film covers the last week of Callas's life in 1977 Paris, a fictionalized account with inevitable flashbacks that cumulatively plays out like a ghost story. All the production elements like the burnished cinematography and set details are impressively handled, but Larrain's creative choices are more arguable, for example, the hallucinogenic images of choruses of people singing back to her in public spaces. There is the ambiguous role of an interviewer (opaquely played by Kodi Smit-McPhee) with the same name as her prescription medication who forces her to confront her legacy. Some of the flashbacks signal more intriguing elements to her story like her rather inchoate relationship with Aristotle Onassis, her traumatizing encounters with Nazis when she was a child, and an intriguing conversation with JFK (played by Caspar Phillipson cast in the same, somewhat inconsequential role in "Jackie"). Her cloistered existence is leavened only by two devoted servants played poignantly by Pierfrancesco Favina and Alba Rohrwacher. Still Jolie's star power has a showcase befitting of her singular talent to convey hubris and vulnerability at almost the same time.

I am sure this film was made with great care and love, BUT what it lacked the most of, in my opinion is BREATH.

Opera singers learn how to controle their breath so to captivate ours. And I agree with the other less favourable reviews that the opening scene really was a bad example of lip-synching particularly because I could not see ms Jolie breathe!

Of course La Callas lived a glamorous life but to me the focus seemed to be more directed towards the visual in this movie.

This is a film that made me stop watching it to the end, and I am sorry for it. I too had high hopes for these two iconic ladies.

I understand the criticism of this movie. The lip synching was indeed terrible. And the writer and director did Callas a personal disservice by focusing on this part of her life, when she was crazy and high and alone. But I don't believe a biopic has a responsibility to show a person's entire life. It can show a portion, if meaningful and true - which this was, even if it was unflattering. The sad decay of a brilliant life is a story worth telling, and this was told with tenderness.

The flashbacks could have added more value and depth by following a linear plot, showing the arc of Callas's career, her great love story and the many sides of her personality. They could have done more to educate viewers about who she was, the complexity of her character and her artistic process. But the director chose instead to play her life back as her own mind might have in those last few days: fragmented, intense last gasps. We see her grapple with pride and regret, asking herself if it was all enough. It's as much a movie about the act of dying as it is about her, and for that I found it beautiful.

Jolie did better than I expected, and I even think she looked like Callas in the black and white scenes. Too beautiful, but Jolie possesses a similar woundedness that translated certain elements sufficiently. While she captured Callas's tortured and demure sides, she did not capture her charisma, temper or ruthless perfectionism. It was a valiant attempt at a role no one could have played perfectly. Callas was untouchable in life, and knowing she still is in death made me love her even more.

In short, the movie was imperfect but its intention was sincere. A deep love for Callas came through that made it worth watching, if you can focus on the story being told instead of the story you wish were being told.

Pablo Larraín's film Maria attempts to portray the life of the famous opera singer Maria Callas, but it doesn't fully capture her strength and mystery. The film focuses mainly on the tragic aspects of her life, such as her difficult relationship with Onassis, the pressure of her career, and the pain caused by her fame. It is a film about sadness and suffering, but it misses the opportunity to highlight her immense talent and the beauty of her voice.

Nevertheless, the film does have its strengths. The cinematography is stunning, and Larraín's direction captures the heavy atmosphere of Callas' life well. The film subtly portrays the loneliness of her existence. The costumes and sets are beautiful and provide a visual tribute to the opera world in which Callas lived. The music is also well-chosen and creates some emotional moments that deepen the story.

One of the biggest issues with the film is the casting of Angelina Jolie in the lead role. She is a talented actress, but her appearance doesn't quite align with how Maria Callas looked. Callas had a very unique, but not "perfect" face-her face was full of emotion and vulnerability, which made her so human and real. Jolie's face often looks too polished, making it harder to see the true Maria Callas. Instead of Callas, the viewer mostly sees Angelina Jolie.

The film also lacks balance between showing Callas' sadness and celebrating her incredible musical talent. Callas' voice was one of the most beautiful in opera, and it's a shame that the film focuses so much on the difficult moments of her life. Yes, her life was filled with pain, but it would have been good to also show how magical her performances were, how technically skilled she was, and how much passion she put into every aria. A film about Callas should not only show her as a victim, but also as the great artist she was, who captivated the world again and again with her art.

If Maria Callas had seen this film, she might have felt uncomfortable. Instead of a film that celebrates her talent and voice, we get a somber portrait of her life, with little room for the beauty that defined her career. The film emphasizes her pain, rather than her most glorious moments. This is not what she deserved. Maria Callas deserves more than a film that focuses solely on her sorrow. She deserves a film that celebrates her as the legendary artist she was.

I agree with blanche-2 and other reviewers, as a former opera student for many years and opera lover and connoisseur.

This may be a delight for those who like Angelina Jolie and like to see a beatiful face on screen, but nothing here resembles the unique quality of divine Maria.

For starters, this is the worse lip-sync I have seen in my life in a biopic of a singer, and it was a surprise that a movie supposed to be a first-rate production went ahead ignoring this major failure. After all, singing is to the essence of the film, it is not a secondary scene. And if you want to recreate Callas life using real recordings, the performative effort must be flawless. Of course it is as hard as demanding, but if you want to compare Jolie's playback what a remarkable, well-executed example, please watch La Mome, the biopic about Edith Piaf, and find delight in Marion Cotillard's perfect, unbelievably good execution. (Jolie's lack of sync is as unbelievable.)

Then, the physique du role. Jolie is one of the most beautiful actresses of our time. But it has physical disparities with Callas which cannot be solved with make-up, and the lack of resemblance spoils the effort. Callas's beauty was tempered, life-chiseled, acquired, a result of a deep effort at self-awareness and self-hardening and reshaping her destiny. That kind of subjective process simply «showed» in her regal attitude, and imposing scenic presence. Jolie is a born beauty, her beauty a gift given from the start, and, in my opinion, she did not manage to convey the dramatic depth of Callas's appeal enough as to create the magical impression that we are seeing a credible Callas.

Also, for those who love opera, Jolie's embouchure (the singers' «mouth mould») is a joke, nothing close to the unmistaken bel canto mouth frame which opera singers (and Callas) distinctively employ. It may seem an unimportant detail, but the sum of inconsistencies and lack of attention to detail ends up being irritating.

I have not listed other observations already pointed by reviewers, which which I concur, related to the use of music score, plot and realism. I really wanted to like the movie, but it was a total disappointment to me.

"Maria" is a breathtaking biographical drama that immerses viewers in the life of legendary opera singer Maria Callas, with Angelina Jolie delivering a remarkable performance in the lead role. Jolie's portrayal of the iconic diva is nothing short of mesmerizing-her attention to detail in embodying Callas both emotionally and physically brings a sense of authenticity to the character, making it clear that she fully understands the complexities of the woman behind the voice.

The film's direction is polished, capturing the essence of Maria Callas' tumultuous life, from her meteoric rise in the opera world to the personal struggles and tragedies that marked her journey. The script is poignant, allowing for moments of deep introspection while also showcasing the external pressures Callas faced in both her professional and personal life. The cinematography is elegant, beautifully complementing the narrative and heightening the emotional gravity of the story.

"Maria" also benefits from a carefully curated soundtrack that underscores the drama and passion of the opera world, as well as the inner turmoil of the protagonist. Overall, the film is an exceptional tribute to Maria Callas, and Jolie's performance cements it as a powerful cinematic experience that will resonate with both fans of the opera and general audiences alike.

This movie came as a pleasant surprise to me.

It is not only the great,studied performance by Jolie,an actress that hadn't really convinced me of her ability to act up to now. Nevertheless,in this movie,all the self-admiring,borderline narcissistic traits are absent.

Jolie,immerses herself in Maria's fragile, overall declining character and produces a more than convincing portrait worth accolades.

The representation of the era is quite meticulous too.

The really pleasant surprises are the directorial approach and the screenplay.

Focusing on her last week before dying it has a balanced approach to her memories through few flashbacks,her past and current relations,her adoration of music and opera,her failing health,her feeble attempts for a comeback,her warped perception of reality through the use of a slew of barbiturates,her nostalgia,her need for adulation and love. All in proper doses.

A fine two hours spent getting in touch with Maria..not the Callas!!!

Just watched the film at a film festival. Our entire group was disappointed by what we watched.

The story line was paper thin to us, focused on the last part of her life, with major parts of the history around how events tied together left out. We would move from one scene to another without a clear link between sequences.

The focus seemed to center around Jolie posing for us, rather removed of the charm of the real Maria. I get it - Angelina is gorgeous but where was the spark?

I never felt like I connected with the characters and didn't feel bought into the film. There was a hollowness to this version of Maria Callas.

At the end of the film, as the end credits start, there are scenes of the real Maria Callas - full of personality and charisma - which were unfortunately not portrayed in Jolie's performance.

Gorgeous costume designs but that was it for me.

Maria is a solid musical bio pic. A great lead performance from Angelina Jolie holds this movie together pretty well and I admire how much she put into this role, especially the opera singing. The plot is a little messy and the pacing is a tad off but I still think the movie is purely entertaining enough to enjoy and it is also educational about this time period and opera in general. It's a beautifully shot and directed movie. I love the editing and the black and white shots are gorgeous. I think this is a solid film from Pablo Larrain with a potential Oscar winning performance from Angelina Jolie.

What was the point of this movie really?

I learned nothing about Maria. There was zero character development or story. We are quite literally just following this "woman" through the last 5 days of her life and she has these random flashbacks which neither help the story nor serve any meaningful purpose. Those flashbacks are extravagant and long. It's clearly that they were supposed to be the main thing carrying the movie but not only did they not do that, they simply distracted and annoyed me more than anything else.

Angelina was great but her character was completely robbed of any life or emotion. Just a dull shell of someone who "used to be" great. How is someone supposed to like that main character??

I see some people complaining that the music was too little but I think the opposite - it was too much. I didn't want to watch an opera or listen to opera music. Maybe some, sure, but I was here for the drama and I didn't get any of that.

I can tell the script tried to be clever but didn't accomplish that either. Angelina delivers one line after another as if they're the greatest one liners ever but instead they're these boring sentences that even a toddler could have written.

Overall, I have no idea why this movie was made. I gave it an extra star for the effort and the production which was great. But even that is way too generous.

I didn't expect to enjoy 'Maria', But I did.

I enjoyed much of the film (particularly those scenes that involved J. F. K., Onassis, and Jackie Kennedy). I appreciated hearing the actual Maria Callas singing well known arias (though, in truth, I am not a true fan of opera). I thought that Angelina Jolie was superb as a wounded, damaged diva who, despite her bitterness toward people who love and serve her, somehow, magically, received my empathy. I found the limited close-ups of 'lip-synching' of Callas' singing was a brilliant choice. We know that Jolie cannot sing, and the film did not attempt to fool us into thinking she can. And finally the device of the viewer never actually knowing what is 'real' as opposed to being Maria's hallucination, allowed the film to delve into the diva's past without there being long explanatory passages of dialogue.

The film does drag a bit. Just a bit. But overall the scenes are well-timed, and so if one seems too slow, we were quickly rewarded by one that holds our interest.

Did I love 'Maria'? No. Is it for 'everyone'? No again. But it sheds light on an icon about whom I knew very little. An icon more vulnerable than I would have thought. And one that earned and retained my empathy.

There's a lot to admire about Maria, most notably the performance from Angelina Jolie which is remarkable, but I do think the woman herself is kept at too much of a distance from the viewer. I left this biopic itching for more depth and insight. Obviously a film can't cover all ground and sacrifices have to be made, but maybe this film could have been approached from a different angle.

In this instance, the approach was to focus on the final days of Maria, giving a somewhat scattered retrospective on moments of her life through fleeting vignettes. It certainly gives the film style and makes it quite engaging, but it does mean that if you have little to know knowledge of Maria (as I did), you won't find that rectified here. This is a biopic that looks to capture the essence of its subject rather than recite events in a formulaic manner. Sometimes that does work, but I'm not sure it 100% worked here.

It perhaps feels a tad long for what it is and for what it delivers. I wasn't quite at the point of clock watching but it was close.

However this is all sounding a bit more doom and gloom than I mean it to. As mentioned, Jolie is perfect as Maria and captures so much soul and heart and passion in her performance. The operatic sequences are well stages and sufficiently punchy, and the costume work and overall style of the film are pretty strong.

A wee bit lacklustre but still a very watchable biopic.

Just a little deep movie... Loved the camera, and settings, and light. The music was easy... in this case. Most of the actors did terrific job. A beautiful butler and big greek sister... Maria/Angelina was mesmerizing and fascinating, as she always is, but lacked the life spark of the real diva. She somewhat began and always had the same dreamy, 'lost eyes' nostalgia, even in the best and most successful moments of Maria Callas's life. Crafty impersonation, but mostly enjoyable for the actress herself. This made the performance without a curb, not interesting.

5 stars to the deep portrayal of the woman's soul, as a woman.

A very positive surprise as I had some little doubts about it before watching it but it convinced me as a touching yet very dramatic biopic about the great opera singer of the last 100 years. One of my doubts were if Angelina Jolie was the right choice to play the role and yes she was! She was absolutely perfect in the leading role and seeing her performing Maria Callas just shows how much she grew as an actress. Don't get me wrong, I always thought she is perfect in her craft, but there is quite an interesting development in her career and that is crown with this performance which you could probably call the peak of her career. Besides Jolie's wonderful and truthful work there is a nice ensemble of supporting players who give memorable performances most notable Haluk Bilginer as Aristotle Onassis. Its the current final of Pablo Lerrain's trilogy of tragic women in the 1900s and hopefully not his last. You have to get used to Lerrain's mix of fact and fiction and his strong symbolism which could be very arty but it works here as it just underlines the deep look into Callas' soul. Also the costume work and camera work is worth to point out and for me currently among the bests of the year. The film it self deserves more positive reaction than it deserved.

There is this old actors saying in film industry: "It's better to be a working actor, instead of a star",

Actors which often are considered stars, rely on their sex appeal, and personal charisma.

However, as the aging process takes its natural cause, their star power just like with real cosmic stars, burns out and fades away... Therefore being a working actor seems to be better path towards their carrier longevity.

Sometimes actors which are labeled as stars have a huge difficulty to shake off the moniker of a star and in the autumn of their career select projects which are more demanding artistically.

Now, the audiences and critics having them put in a "box", have a difficulty seeing in them something more than a shadow of their former self. However, if given a proper chance, senior actors performance can actually show what they've always were capable of doing, but because of their beauty and sex appeal, they were locked in the image they had to uphold for commercial reasons.

This brings me to 'Maria' a biopic about last week of life of opera Primadonna Maria Callas, which is a part of the trilogy directed by Pablo Larraín together with biopic about Jacky Kennedy 'Jacky' and princess Diana titled' Spenser'. Both lead female performances in previous movies received not only critical acclaim, but also nomination for Oscars.

"Maria Callas is one of the most iconic performers of the 20th century. The film follows the Greek-American soprano as she retreats to Paris after a glamorous and tumultuous life in the public eye, reimagining the legendary diva in her final days as she reckons with her identity and life."

To some extent Pablo's latest biopic seemed to polarize the critics. Some love it and others feel it is rather doll and uneventful. Some critics are extra harsh on Angelina Jolie performance feeling that she does not possess enough internal depth to portrait this complex character without falling into acting clichés.

Apparently Angelina trained opera singing for over half year to be able to try to attempt to vocalize at least in part the mastery of late opera, singing icon. As actors prepare for their roll, especially when the performance is based on a real person, it is ill advised to focus on the characters mannerisms and instead try to convey the inner emotional triggers that the original performer is known for. And therefore the internal approach often takes the charge instead of purely external characterization, which can feel theatrical in medium of film.

Some critics which I personally disagree with points out that although Angelina Jolie portraits the external aspects of Maria Callas character, she does not have enough acting tools to internalize the performance. Apparently between five and 70% of singing has been done by Angelina Jolie herself, which in itself is rather impressive, considering the magnitude of range and talent, the original diva possessed.

This film is mature cinema and what first stands immediately out is absolutely breathtaking cinematography. It has that grand look to it, supported by detailed production and costume design. The camera movement has a mastery to it, with seamless, dolly moves, always creating beautiful depth of field, as camera is tracking the protagonist, revealing a vanishing point that adds depth and three dimensionality to the frame. This aspect in itself gives this film, a feeling of "poetry in motion".

All the supporting performances are rather nuances, with Pierfrancesco Favino as faithful butler and Kodi Smit-McPhee as the documentary filmmaker and Haluk Bilginer as Aristotle Onassis to just name a few.

To larger extent, with 'Maria' Director is leaning towards arthouse cinema in the visual way the story is being shown, and therefore a choice of a lead actress which in her career had a commercial appeal, might be a polarizing casting choice. However I for one, am in the opinion that sometimes actors which are often type casted can break the mold and showcas their true, artistic worth, as it happens in this instant, with this solid performance by Angelina Jolie.

In conclusion, this film is probably best recommended for mature audiences, which are sophisticated enough to appreciate what the Director achieved here.

Again it might not be for everyone's taste, but there is certainly enough quality to justify 2 hours and 4 minutes of your time.

Angelina looks and acts nothing like Maria Callas . Her performance felt forced at times and overwrought in other moments . The film is disrespectful to Maria's legacy who deserves a proper biopic with depth and substance. Instead we get a shallow and superficial plotless film. There is nothing memorable about this film . It felt slow and plodding . It is just an abstract vehicle where people pretend she gave a great performance. Only 5 percent of her vocals were used but in promotion, she falsely claimed she sings opera. Maria deserved better. This film is forgettable and I thought her performance was overly mannered and cringeworthy.

This film is emotionally and poignantly crafted, drawing me in from the very first scene. Jolie's performance is nothing short of exceptional, and I firmly believe she deserves an Oscar nomination. Her portrayal is subtle and nuanced, delivering the best female performance I've seen all year.

The set designs are simply stunning, and the acting is superb, even from the canine companions. This film is definitely worth a watch, and it will undoubtedly move you. The scene in the rain is particularly cinematic, capturing the essence of drama and emotion at its finest.

I highly recommend this film to anyone who enjoys opera or is simply looking for a thought-provoking and emotionally resonant experience. It's a fine piece of storytelling that explores the final days of a diva's life, as she grapples with monotony and a longing for a past that can never be recaptured.

Maria is a beautifully crafted film that pays tribute to the legendary Maria Callas - and with Angelina Jolie in the lead, it's hard to look away. Jolie, as always, can do no wrong. She doesn't just play Callas; she embodies her. Every glance, every gesture, every moment on screen feels like a masterclass in restraint and elegance. Her performance is nothing short of magnetic and iconic.

The film is a visual feast. The art direction, the sweeping European scenery, and the lushness of the opera world all come together in a way that feels rich and immersive. Even for someone who isn't an opera aficionado, the singing translated emotionally and artistically - it connected.

That said, the movie felt too long, and not in a "more, please" way. There were moments where the story seemed to pause or float without momentum - almost like a feeling of flazeda (languid, unhurried, maybe even too careful). The pacing sometimes dulled the emotional impact, and while Jolie carries the film effortlessly, there were stretches where even her brilliance couldn't fully lift the weight of the slow storytelling.

Overall, it's a good film - poignant, elegant, and beautifully acted. But for me, it's not one I'd rush to watch again. It's a one-time, high-art experience that lingers, but not enough to make the rewatch list.

"Maria" is a film that never should have been made with Angelina Jolie in the lead role. It's not just terrible, it's painfully boring and puzzling. This film was supposed to be a character study of the legendary opera singer Maria Callas a week before she died, but the film utterly fails to capture the complexity of Callas' life and personality. Instead, it comes across as simplistic and superficial, with Jolie merely mugging for the camera rather than embodying the role.

The narrative is a jumbled mess, interspersing black and white scenes of a younger Callas with Aristotle Onassis that offer no meaningful exploration of their storied and tumultuous relationship. And her husband was just an afterthought. Rather than delving into the pivotal moments of her remarkable life and career, the film focuses on her final week, punctuated by disjointed flashbacks that do little to add depth or clarity. This misguided approach does a grave disservice to Maria Callas' legacy.

Moreover, the film feels exploitative, more like a vehicle for Angelina Jolie's so-called "comeback" than a sincere homage to Callas. The standing ovation at Cannes and the subsequent "Oscar buzz" only highlight the problem: name recognition seems to outweigh the quality of the film itself. Jolie's performance lacks the authenticity needed to convince audiences she truly embodied Maria Callas. There simply wasn't enough suspension of disbelief in the world to bridge that gap.

Instead of telling the story of Callas with grace, respect and insight, the filmmakers opted for an overly artistic approach that sacrifices narrative cohesion. The result? A tragically awful film that dishonors the memory of one of the greatest operatic talents of all time.

IMDb Review: Maria (2024)

I'm torn on whether I liked Maria or not. While it has its strengths, there were several aspects that left me feeling uneasy.

One of the most commonly criticized elements-the lip-syncing-isn't something I can assess with expertise, but I do agree that it felt off. That said, portraying a legendary opera singer is no easy feat. This raises an interesting debate: should the role have gone to someone like Angelina Jolie, whose beauty is undeniably a factor in casting, or someone who could have executed the vocal performance more convincingly?

What frustrated me the most was the dialogue. Nearly every conversation felt overly poetic, metaphorical, and philosophical, as if the characters were constantly trying to outwit each other in some intellectual duel. There was barely a single natural, human interaction in the film. Whether in her youth or later years, Maria always spoke with the same solemn expression and melancholic tone, as if delivering life lessons in every line. This became exhausting to watch.

In films like this, there are usually standout, unforgettable scenes that leave a lasting impression. Unfortunately, Maria lacked that for me. However, I must acknowledge the effort put into the cinematography, especially in the flashback sequences and the documentary-style scenes of her performances. The craftsmanship is evident, and visually, the film is stunning.

Overall, despite its flaws, I'd say a fair rating would be around 6/10, but not much higher.