Maria (2024): Pablo Larraín Completes His Unofficial Prominent 20th Century Woman Trilogy
“Maria” is directed by Pablo Larraín (Jackie, Spencer) and stars Angelina Jolie (Eternals, Kung Fu Panda), Pierfrancesco Favino (Night at the Museum, Angels & Demons), Alba Rohrwacher (The Wonders, Hungry Hearts), Haluk Bilginer (EastEnders, Halloween), and Kodi Smit-McPhee (Memoir of a Snail, X-Men: Apocalypse). This film is about opera singer Maria Callas, and is most prominently set during the week leading up to her death.
When it comes to film directors, if you were to ask me if I knew who Pablo Larraín was before this review, chances are I would say no. Although upon research after seeing this movie, it turns out, I have experienced his previous filmography. For the record, this is my first film of his I am reviewing. More than a year ago I watched “Jackie,” which I thought had stunning production design, killer camerawork, costuming, and a great lead performance by Natalie Portman. I ended up enjoying the film overall. Is it a masterpiece? No. But it is a compelling watch that I recommend checking out if the chance comes by. It also turns out that “Maria” is part of an unofficial trilogy. This is Pablo Larraín’s third film regarding notable 20th century women. 2016’s “Jackie” was the first, followed by 2021’s “Spencer,” which for the record, I did not see, and now “Maria.”
Having seen both “Maria” and “Jackie,” I can confirm that they contain similar positives. Both feature talented leads who give really good performances. The dialogue is particularly well executed and properly placed. There is not a line in the film that comes to mind that feels like filler. The sets and locations in both films feel noticeably extravagant. If I have one thing to say, I personally prefer the overall look to “Jackie” to “Maria.” The color choices between the on-set items feel more rugged and have more character, whereas I look at “Maria” and somehow the frames continuously emit a greater sense of perfection. It is almost to the point where some of the set design feels oddly artificial. But if I am going to remember one of these films within the next year, I think “Jackie” is the one. I recall it having more of an impact on me by the end than this film did. I am not going to pretend I remember that movie through and through, but whereas “Jackie” drew me in through its flair, “Maria” feels like a borderline snoozefest at times.
Despite what I said about the look though, there is no doubt that “Maria” at least provides a sense of immersion. Between the detailed costumes, excessive use of wallpaper, and extravagant sets, the film is easy on the eye, even if some of it looks somewhat unreal.
There is a good movie somewhere in “Maria,” but it is not doing the best job at unveiling itself. “Maria” feels less like a story and more like a series of events that are loosely connected together. It all amounts to a bit of a bore. As I write this review, I am having trouble naming what I found to be the best parts of the film. The events in this film are all wound properly and maintain a sense of consistency, but I am not going to pretend I was moved or compelled by all of them.
The one thing that is saving these moments are the performances. Angelina Jolie, again, does a good job with the lead role, though I am disappointed to know that a lot of her singing scenes were lip-synced. Her most prominent moments are simply driven through spoken dialogue. That is weird to say because this film has a pace to it where the dialogue is used rather sparingly. Interesting enough, this film is about an opera singer, and I would say that there is a bit less singing in this film than I probably expected going in. If you are looking for singing in this film, it exists. But if you take into consideration what this film is actually about, a woman who is essentially losing the ability to sing, then it would not be a surprise to realize that this film is not a a marathon of vocals.
I also liked a lot of the supporting performances. Haluk Bilginer does a good job as Callas’ partner, Aristotle Onassis. Pierfrancesco Favino is a standout as Callas’ servant, Ferruccio. That character plays a major part in the film despite the greatest highlight of his performance likely extends to him just being in the room.
This film is not a typical biopic as much as it is a short series of events with tons of flashbacks. The film does have some elements one might expect out of a biopic. A summary of a star’s success, an emphasis on the same star’s downward spiral, and a highlight into the star’s substance abuse. We see Callas taking drugs during the film and how it affects her down the road. What separates this biopic is not only its contained feel, as it primarily treks itself through a specific time period, but also a noticeable use of flashbacks. If you are not into non-linear stories, this film may not be for you. That said, the way this film is told, I would argue it would be worse if it were linear. That kind of says something though because the film as is failed to impress me.
If I have any other notable highlights I have not gone over yet, there is one scene that stuck with me because of how much it makes me think about our ongoing celebrity culture. There is one scene where Maria is in public and someone comes up to her that he was going to her show, but she never showed up. At this point, Maria firmly tells him she was sick. Looking back, maybe she was a bit harsh in her response to this individual. But I think it also taps into something I think we often forget about as a society. We expect so much from celebrities to the point where we forget that they are human beings. Some debate as to whether stars are just like us. But if there is a way they are like us, it is through the idea that stars are not perfect.
There is also a little Easter Egg in this film for those paying attention. As mentioned in the beginning, this film is from the same director who did “Jackie,” which is about Jackie Kennedy. Turns out this film has a rather noticeable Kennedy connection. You will know it when you see it.
In the end, “Maria” is a film that I could see being a highlight in certain aspects during this awards season, but it is not perfect. It is a film that I am probably going to forget by next year. I expect that from a Netflix title to be frank, but for something like this, this feels shocking to say. Angelina Jolie definitely carries star power in the lead role, but it is not the best performance I have seen in a 2024 film. If you want something pretty, this film will do. But if you are looking for something memorable, look elsewhere. I am going to give “Maria” a 5/10.
“Maria” is now playing in select theaters and is available to stream on Netflix for all subscribers.
Thanks for reading this review! My next review is going to be for the brand new horror film, “The Damned!” Stay tuned! If you want to see this review and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Maria?” What did you think about it? Or, what are your thoughts on Maria Callas as an artist? Let me know down below! Scene before is your click to the flicks!
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