22/34
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 world-famous opera singer Maria Callas. The third and final film in Pablo Larraín’s so-called “Lady in High Heels” trilogy of female-led biographies, following Jackie (2016) and Spencer (2021). Maria Callas: Reserve me a table at a café where the waiters know who I am. I’m in the mood for flattery. Referenced 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 BoitoWarner Classics Edition, (p) 1964 Parlophone Records LimitedRemastered 2014 Parlophone Records LimitedCourtesy of Warner Music Group Germany Holding GmbH, a Warner Music Group Company. I’m sure this film was made with great care and love, BUT what it was most lacking, in my opinion, was BREATH. Opera singers learn to control their breathing in order to captivate ours. And I agree with the other less favorable reviews that the opening scene really was a poor example of playback – particularly as I couldn’t see Miss Jolie breathe! Of course, La Callas lived a glamorous life, but to me, the focus seemed to be more directed towards the visuals in this film. This is a movie that made me put off watching it until the end, and I regret it. I, too, had high hopes for these two iconic ladies. “One Hundred Years of Solitude” is one of the biggest TV and streaming releases this month. Check out our December calendar for more!
