Angelina Jolie becomes Maria Callas in Pablo Larraín’s latest biopic of a woman reflecting on her life. And with “Maria,” the Chilean film director of 2016’s “Jackie” and 2021’s “Spencer” completes a trilogy of iconic women interrupted by major life events.
In “Maria,” the glamorous soprano’s life is near its end. After an incredible career gracing the world’s great opera houses, Callas retreats to her Paris apartment. The soprano’s voice is in decline; her relationship with Aristotle Onassis is over; and her housekeeper and her butler are seemingly her closest companions.
Because this is a biopic, the end of Callas’ life is imagined by Larraín. At the same time, I assume he has seen Tom Volf’s 2017 “Maria by Callas: In Her Own Words.” Compared to the biopic, the documentary reveals what actually happened toward the end of Callas’ life.
In both films, however, viewers can count on incredible scenes of Callas’ performances on stage. In “Maria,” we also hear Jolie’s singing voice, merged with that of opera’s greatest diva. You cannot miss Jolie’s vocal cords at work in the black-and-white opening scene.
Indeed, Jolie studied opera and practiced singing arias for months to prepare for the role of “La Divina,” as Callas was also known. Now that Jolie is nominated for a best actress Golden Globe, it is fair to say her due diligence has already paid off.
Both the current biopic and the 2017 documentary are “certified fresh” on Rotten Tomatoes. I enjoyed both immensely because Woman on the Verge loves all iconic women. Which begs the question: If Larraín were to continue making films about this specific category of people, who could be next?
“Maria” drops on Netflix today, so this is one you can watch from the comfort of your own home. Next week, I will be urging you again to get up, get dressed, and go see a very different movie. Until then, enjoy the show.
