43/46
Maria Callas: Reserve me a table at a café where the waiters know who I am
Maria Callas, the world’s greatest opera singer, lives out the final days of her life in 1970s Paris, as she comes to terms with her identity and her life. Angelina Jolie and director Pablo Larraín discuss how they connected with the heartbreaking true story of the world-renowned opera singer Maria Callas. The third and final film in Pablo Larraín’s so-called “Lady in Heels” trilogy of female-led biopics, following Jackie (2016) and Spencer (2021).
I’m in the mood for flattery
Mentioned in Close-Up: Why Do We Need the Venice Film Festival? (2024). Otello, Act 4: ‘Ave Maria’ (Desdemona)Performed by Maria Callas, Conservatory Concert Society OrchestraConductor: Nicola RescignoWritten by Giuseppe Verdi, Arrigo BoitoA Warner Classics release, (p)1964 Parlophone Records LimitedRemastered 2014 Parlophone Records LimitedCourtesy of Warner Music Group Germany Holding GmbH, a Warner Music Group Company.
Some positive points:> I enjoyed the musical selections
I really don’t understand why the filmmaker decided to focus 90% of this film on the last week of the main character’s life. Jolie, as Maria Callas, is stony-faced, stiff and taciturn, and trudges through Paris for much of her screen time. The little backstory details were refreshing, but sorely lacking.
Overall, though, a very disappointing movie
I downloaded the album and have been listening to all the musical pieces repeatedly.> The costumes and visuals are quite beautiful. Of all the characters, the butler and the maid were the most appealing on screen. “One Hundred Years of Solitude” is one of the biggest TV and streaming releases this month.