Okay š¤ So director Pablo LarraĆn likes to take famous women of history and direct movies about them. Iāve seen Jackie, and Spencer, but I think thereās more. And I was massively taken by Spencer ā for a practical work for fiction, in all intents and purposes, utilising the image of Princess Diana above all else; I felt the message meant to be delivered, even though I donāt usually go for those sorts of warps of history (Blonde š¤®). So I think Maria must get the full review treatment here, and Iām expecting a movie with gravitas.
Maria Callas (Angelina Jolie) is a retired, and broken, opera singer, and the movie tells you right away that she is in her final week, as she plans to make a grand re-entry into her mastered field. For companionship, she really only has her devoted butler, Ferrucio (Pierfrancesco Favino), and dutiful housemaid, Bruna (Alba Rohrwacher), as she takes too many pills and fantasizes about cameramen and reporters coming to interview her for television. Maria walks the streets of her favoured locations around Paris, attending rehearsals and restaurants, while flashbacks detail her once very real life of fame.
The star of the show is the scenery. This movie never wastes an opportunity for a long shot to showcase just how stunning Paris can be, along with Mariaās extravagant home. And yet, as Iāve said before, long shots arenāt the best at breeding closeness between subjects and audience ā although I get a feeling like Maria is being swallowed up by her giant house, which is probably part of the movieās intention, as is the way she is placed like a fitted piece in her acquiescent city backgrounds. Ultimately, though, beyond the beauty, I failed to really care about Maria, because I donāt know her. She is quirky, of course ā forthright too ā but I think I couldāve cared more about Maria if I cared more about opera, or was aware of her previously. Yet, the top echelon of movies can really have you investing in any art form, or human endeavour, that you may not have had any interest in before, and Maria is not that movie for me. Maria is a bit like The Iron Lady, where we are watching a once vibrant flower wilt, and whoās reputation should speak for itself, assuming I knew what that is, and I donāt. I liked the idea of the internal TV reporter following Maria around, allowing for Maria to reflect or contend with burning questions outwardly for the movie, as well as detailing her madness. I wonder if Mandrax (Kodi Smit-McPhee) doubles as a stand-in for director LarraĆn, or writer collaborator Steven Knight, whoāve fallen in love with Maria during the preparation for this movie? I donāt know, and I wonāt know, unless I chance upon a revealing production interview š Whatās most interesting though, is that this movie states the same dude supposedly married Jackie Kennedy after our Maria, tying LarraĆnās current trilogy exploring women of the 20th Century, in a neat circle. I wonder what came first ā the admiration and desire to make a movie about Mariaās life, or research into Jackie that led to another fascinating female of history š¤
There were whispers that Angelina Jolie would be in the running to get nominated for the big golden award, but it didnāt happen. And I think that was the right call⦠Still, Jolie might be in one of her defining roles; I could see it featuring around eighth on a list of Jolieās ten best performances, off the top of my head, detailed as defiant with those accompanying piercingly fierce stares. But Iām not sure if thereās much else to it. I do think Jolie does sink into the persona, and it is a feather in her cap ā admirable and commendable, along with all those other words that used to refer to a solid pat on the back š I believe Jolie had to undergo opera training for some of the scenes, but thereās also quite clear dubbing going on, and ā I donāt know ā I suppose I donāt ever want to be able to tell, even if an actress can only mimic what is presumed to be one of the best voices of all time. A Complete Unknown showcased voice-dubbing as well, Iām sure, but at least that was always TimothĆ©e Chalamet singing the songs and making the performance his own. Here, Iām harsher.
Jolieās attempts to get into Mariaās fraying psyche are achieved effectively, but the material doesnāt resonate as strongly as what comes before by LarraĆn, with Spencer. Although, did I mention how this movie is beautiful? Because it is beautiful, and I audibly gawked at the trees besetting Maria as she leaves her first singing rehearsal of the film š® Absolutely exquisite! The colour grading is expertly used, often making shots of this movie appear like a nostalgic postcard, which only extenuates the incandescent gorgeousness ā and itās a golden feat of a movie, undoubtedly. I also like how LarraĆn doesnāt feel rushed to tell his stories, and this movieās slow pacing and score allows one to settle into a mood. The dialogue too, can hold that classic wit and be quite snappy, especially early. And yet, I mean, Iāve said it already, havenāt I? Maria is well made, exquisite on the eye, but Iām detached. Plotwise, with a glass half empty, itās boring.
3.0

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