There is 'Maria' and there is Maria Callas. Our classical music critic on how the Netflix movie compares with the Maria Callas he encountered and from whom he learned the meaning of Italian opera.
Here we go again. In Hollywood’s ongoing cheerless attempts to contest the joy of music by cutting stellar classical musicians down to size, “Maria” joins the curt parade of “Tár” and “Maestro.” The new biopic of Maria Callas follows the takedowns of fictional conductor Lydia Tár and larger-than-life Leonard Bernstein with a dramatization of the most compelling singer I’ve ever encountered — live, on recording, on video anywhere.
Joile's speaking voice sounds almost like Callas’ but without the hint of Callas’ New York accent. She lacks, crucially, Callas’ disarming smile. None of this might matter so much had director Pablo Larrain concentrated less on supplying glamour shots of Jolie. The film is called “Maria” for a reason. Callas’ was, indeed, a life of conflicts between the artist who grandly became La Callas and the woman who was Maria. But you need to understand both.
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