Commentary: What Netflix’s ‘Maria’ gets so wrong about Maria Callas
As a longtime admirer of the enigmatic and extraordinary Maria Callas, I find myself captivated by the recent biopic “Maria” directed by Luca Guadagnino. However, as someone who has been deeply moved by her artistry for decades, I must confess that the film leaves me yearning for more.
Here we go again.
In the persistent effort of Hollywood to diminish the charm of music through portraying renowned classical musicians negatively, the biopic “Maria” now stands alongside “Tár” and “Maestro.” These films, including the depiction of Maria Callas, mirror the criticisms of fictional conductor Lydia Tár and Leonard Bernstein. They each present compelling characters, yet portray them as tragically humbled by their own arrogance, transforming into monstrous figures. Interestingly, they all share a common thread – their downfall is due to their celebrity status, which Hollywood, being skilled at nurturing celebrities, seems to excel in. (It’s not just me who finds her exceptional.) All three films demonstrate how success can lead to self-destruction and the dark side of fame.
The series “Maria,” now streaming on Netflix, primarily explores the later years of Callas’ life, a period often depicted as one of self-destructive despair in this portrayal. After losing her voice and her lover, she seemed to have lost all purpose in life. She was unable to return to the legendary status of La Callas or reconcile with Maria, the woman within herself. The story presents a tragic and somewhat eccentric account of sorrow and a complex personality.
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The movie starts and finishes with the lonely demise of Callas, portraying her struggle and hallucinations as she strives to recover her voice, gain Aristotle Onassis’ affection, and regain public admiration. In a manner reminiscent of flashbacks, we are shown glimpses of her life’s low points interspersed with snippets of real-life documentary footage.
Throughout, Angelina Jolie effectively emulates Callas’ style in her attire, demeanor, and actions. Her hairstyles from the 1950s and 1960s are stunningly accurate to perfection. She could easily pass as a lifelike doll of Callas.
A more natural and easy-to-understand rephrase: Maria Callas had a unique beauty that didn’t conform to Angelina Jolie’s perfectly proportioned looks. Instead, Callas saw herself as an unattractive duckling and transformed into a swan. When she made her stage debut in the late 1940s, she showcased a powerful voice and intense dramatic flair. However, Callas was a large woman who was sometimes clumsy onstage. Director Franco Zeffirelli described her as being big in every aspect – big eyes, big nose, big mouth, and a large body – and likened her to the Statue of Liberty.
Watching the 1953 movie “Roman Holiday” sparked Callas’s ambition to resemble its petite lead actress, Audrey Hepburn. In just one year, Callas shed an impressive 80 pounds. Although she had collaborated with notable directors, particularly Luchino Visconti, the physical transformation opened up new possibilities for her and allowed her to innovate the contemporary notion of opera as a dramatic art form. Her voice may have lost some of its luster, but critics who disliked her often attributed it to weight loss. In reality, Callas’s drive was to channel all of her energy into an intense theatrical performance.
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Appearing as a symbol of grace on the outside, Callas’s unique qualities – her large, expressive eyes, mouth, and voice – were able to resonate powerfully, unlike anything opera had known before. Beyond merely transforming herself, she revolutionized the entire artistic realm.
Maria Callas’ operatic career spanned just under two decades and concluded in 1965 when she was 42. Her final staged opera performance took place in a production of “Tosca” at Covent Garden, London. Over the years, various explanations were put forth for her early vocal decline. It wasn’t until a dozen years after her death that it was revealed she had been battling dermatomyositis, a condition that weakens muscles and can impact the voice box, potentially contributing to both her vocal difficulties and her heart failure at age 53.
In a subtle manner, Jolie’s voice carries an echo of Callas’, yet it seems to soften or refine some of Callas’ characteristics. Her speech sounds remarkably similar to Callas’, but without the trace of her New York accent. Notably, Jolie doesn’t possess Callas’ captivating smile. If director Pablo Larrain had focused less on creating glamorous shots featuring Jolie, these differences might not have been as noticeable.
The movie titled “Maria” carries a significant meaning. Callas’ life was a constant struggle between the illustrious artist known as La Callas and the private individual, Maria. It is essential to comprehend both aspects of her persona. Her physical condition led to her retirement from singing, but her greatness enabled her to surpass biological limitations. However, her desire to embody the woman she aspired to be fueled her fixation on Onassis, who eventually proved harmful.
In 1974, during Maria Callas’ unfortunate comeback tour with tenor Giuseppe di Stefano, I had the privilege of witnessing how extraordinary the higher dimensions of this intricate equation could be from my lofty balcony seat at San Francisco’s War Memorial Opera House. As a student then, I was captivated by the performance, utilizing my new opera glasses to catch a closer glimpse of her. Up there, the acoustics were at their finest.
In a striking manner, her voice was weakened, yet it didn’t diminish the power or her presence. In fact, this performance turned out to be some of the most profound singing I’ve ever heard. She appeared both extraordinarily powerful, like a superhuman, and intensely human, suffering greatly. The magic of Callas and the music merging on those low-quality recordings of the concert, found on YouTube and other platforms, is indescribable.
As a movie enthusiast, I’d highly recommend experiencing Pier Paolo Pasolini’s 1969 masterpiece “Medea,” starring the legendary Maria Callas in a captivating acting role. Much like Larrain with Jolie, Pasolini found himself spellbound by Callas’ distinctive features, particularly her expressive nose. He meticulously explored her emotional depth, its raw, extraordinary power. Opera is no longer a necessity for her; it resides within her very essence. Pasolini employs music in a way that resembles filming a Noh play without masks, yet with the veils removed. The fact that this film is often overlooked in the opera community and even among Callas enthusiasts serves as a testament to the timelessness of her artistry – if you truly immerse yourself, she remains a visionary ahead of her time.
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In 1974, her advanced intelligence and bravery were clearly demonstrated when she spoke at a Verdi musicology conference in Chicago. She came across as dignified, articulate, unemotional, and remarkably groundbreaking. Instead of indulging musicologists in discussions about overlooked early masterpieces of Verdi, she proposed they extract the essential elements from those operas to create something contemporary and significant. Furthermore, she criticized Puccini for making singers and audiences complacent due to his lack of challenge.
About a year after Onassis passed away, it’s believed that Callas lost her zest for life. Despite his departure and their never being married, he went on to wed Jacqueline Kennedy, but the passion in Callas remained unquenched until the end. Her final two years were undoubtedly challenging, as she battled drug issues, depression, and a condition called dermatomyositis, which seems rather sordid in “Maria.” It’s intriguing to ponder whether her retreat into seclusion was partially due to the fact that patients with dermatomyositis are advised to avoid sunlight, given her deteriorating health. Her body was clearly failing her.
In the year 2002, Zeffirelli’s biopic “Callas Forever,” featuring Fanny Ardant and Jeremy Irons as her agent, presents a more affectionate and whimsical depiction of Callas during those years. Since Zeffirelli had collaborated with Callas before and knew her well, his portrayal is particularly insightful. For a comprehensive understanding of Callas, it’s recommended to watch Tony Palmer’s 2007 documentary “Callas,” in which Zeffirelli sheds light on various aspects of her life.
For Callas, the accolades, glamour, and luxurious lifestyle served a deeper purpose – they were means by which she infused profound significance into her life. In contrast, Maria seems to offer only sentimentality and posturing. However, Callas’ art was what truly gave her existence depth and meaning.
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2024-12-14 19:31