MARIA -- A Captivating Portrait of an Opera Icon in Her Twilight

Review by Jonathan Berk

The concept of “paint-by-numbers” is often associated with biopics. If you’ve seen one, you can often see the pattern in which filmmakers shape the story. That’s why when a filmmaker with a distinct style and approach takes on a film in this genre, they can break away from the status quo. Director Pablo Larraín has done just that with Jackie, Spencer, and now with his newest film, Maria.

Maria Callas was once the world’s most renowned opera singer. But in 1977, she is living a life of seclusion in Paris with her butler, maid, and two poodles. Her health is in decline, but a request for her to return to opera for a tour raises an important question: Will La Callas sing again? And if so, for whom?

One way Larraín approaches these three biopics that stands out is by choosing to focus on a very narrow portion of their life. He utilizes some flashbacks to explore outside the limited window in which the primary story is told — but for the most part, he chooses an impactful moment of these figures' lives rather than employing the “cradle to grave” format that many other biopics strive for. The sad reality, however, is that most moments in our lives are mundane and uneventful. By choosing to focus on these pivotal moments, Larraín provides a strong sense of who the person was rather than simply documenting the events they experienced. His approach, similar to Danny Boyle’s Steve Jobs, creates a heightened version of reality — one that makes for an enthralling cinematic experience that centers on the heart of who these people were, or what they may have been like.

While the storytelling in Maria is captivating, Angelina Jolie’s performance as the diva is equally impressive. The film chooses to integrate an operatic style into many of the sequences, and Jolie is tasked with delivering these incredible vocal performances. She not only shines in these grand moments — but also in the quiet, introspective ones. Maria’s mental and physical decline is conveyed so poignantly through Jolie’s portrayal. Her performance is spellbinding, bringing both vulnerability and grandeur to the screen, capturing Maria’s struggle to find her voice once again.

Pierfrancesco Favino and Alba Rohrwacher play the two other primary characters in the film — the butler and maid, respectively. Their performances are also incredible, and add depth to the depiction of Maria’s seclusion. There is a recurring motif where Favino’s character has to move the piano for a variety of reasons, despite having an injured back. It’s an element that could feel inconsequential, but instead carries an emotional weight that matches that of a man struggling with the burden of moving such a heavy instrument. The chemistry between the three forms the emotional spine of the film, and it’s in far better shape than the butler’s.

The visuals in the film are extraordinary, matching the emotional richness of the performances. Larraín likes to dabble with surrealism, which results in some stunning cinematography. Various stylistic flourishes make scenes feel like documentary footage, while others play with our perception of reality or draw attention to the form itself. A black-and-white close-up of Jolie as she sings is one of those early images that instantly burns into your mind. We are introduced to the character in such an intimate way, locking eyes with the diva who we will be spending the next two hours with. Larraín’s style and voice shine through, demanding our attention, and making this film unforgettable.

There is so much to take away from this movie that it is easy to recommend. Maria is a captivating portrait of a legend in her twilight, demanding that we remember her voice, her talent, and her struggle as tragedy fell upon her. This film may not paint the entire picture of her life, but it gives us a sense of who she was. For that alone, Larraín’s film is worth watching.

Maria will be in select theaters on November 27 and on Netflix on December 11.

Rating: 4/5