Angelina Jolie in a character-driven role is such a pleasure to watch

RATING – ⭐ ⭐ ✨ 2.5/5*

Maria Review Movie Talkies:

Maria is the third installment in Pablo Larraín’s trilogy of films centered on iconic 20th-century women, following Jackie (2016) and Spencer (2021). Like its predecessors, Maria is rich in drama and visually engaging. However, what sets this film apart is Angelina Jolie’s commanding performance and the layered, egotistical character she portrays. The film maintains a slow pace throughout, reflecting the introspective nature of Maria Callas’s final days, though its frequent pauses—intended to evoke operatic symbolism—can feel somewhat forced. One wonders if operatic music alone can elevate scenes when the expressions remain repetitive.

Maria Story:

The story follows world-renowned opera singer Maria Callas (Angelina Jolie) during her twilight years in Paris, cared for by her loyal butler Ferruccio (Pierfrancesco Favino) and housekeeper Bruna (Alba Rohrwacher). As a journalist documents her memories, Maria reflects on her life—her overbearing mother, complicated romantic entanglements, and most notably, her turbulent relationship with Aristotle Onassis (Haluk Bilginer). These moments are framed with clever labels—”mother,” “husband,” “whatever”—that linger more than the characters themselves. Amid declining health and an overreliance on medication, Maria’s yearning to sing again becomes a rebellion against the control Onassis once exerted over her at the height of her career. This emotional conflict is one of the film’s strongest narrative threads, though the character often feels underwritten.

The screenplay delivers occasional dry wit, mostly through Maria’s blunt arrogance. She isn’t trying to be funny, but her sharp tongue and grandiosity provoke unintentional laughs. Her ego looms large, dwarfing those around her with ease. While this provides some entertainment, it doesn’t offset the film’s sluggish pacing and narrative monotony. With its single, somber tone and minimal dramatic tension, the film quickly becomes tiresome for viewers not deeply invested in opera. Even its musical segments, beautiful as they are, cater to a niche audience. Yet Maria’s self-assured assertion—“I can’t listen to my own songs because they are perfect. They have to be performed, every time differently”—captures her essence and reinforces the film’s thematic core.

Maria Cast:

Angelina Jolie delivers her most compelling performance in years. Her embodiment of Callas—from the accent and mannerisms to the emotional gravity—is magnetic. She owns the screen from her first appearance and remains its focal point throughout. Without her, the film would likely collapse under its own weight. Haluk Bilginer starts strong but fades as the film progresses, while Rohrwacher and Favino lend solid support as Maria’s closest companions. Vincent Macaigne and Kodi Smit-McPhee provide serviceable performances in smaller roles.

Maria Movie Review:

As a biopic, Maria lacks the dramatic highs and cinematic flair that typically energize the genre. Sofía Subercaseaux’s editing feels tepid, and Edward Lachman’s wide-angle cinematography occasionally distracts more than it enhances. On the plus side, the production design, costumes, and makeup are visually impressive. Larraín focuses more on Callas’s decline than her celebrated prime, creating an unbalanced narrative. A more even depiction—half glory, half downfall—might have offered a fuller, more satisfying portrait. Still, Maria retains some artistic value, largely due to Jolie’s stellar portrayal, even if the rest of the film demands considerable patience.

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