Maria, Pablo Larrain’s lavish biopic of the last days of Maria Callas, and The Critic, a dark thriller about a fictional evil-minded London theater critic in the 1930s, are available for streaming. While it’s a treat to have two star-driven features for home viewing, both films are well-acted, look great, but are limited in appeal.
Maria stars Angelina Jolie as Maria Callas, considered to have been one of the world’s greatest opera singers. It is 1977 in Paris. Chilean-born filmmaker Larrain chose this film as the last in his trilogy of 20th Century important women – after Jackie from 2016, and Spencer from 2021. The acting is first rate in all three films, and the set design is topnotch. Where Larrain fails is his choice of scripts. Each film portrays its famous subject going through misery, and mental illness. That choice is such a shame since each of these three women had lives that were filled with achievements, brilliance, even successful romance and, should I go so far to say – happiness. Added to that criticism, his choices of scripts lack sufficient scenes of the ups in these women’s extraordinary lives. I realize what he is looking to achieve, but it’s irritating, difficult to swallow.
Larrain’s study of Callas might have been more engaging if the script analyzed her mood, offered a few ups and downs in her days prior to death. But we see Callas only as an inconsiderate, hurtful woman. That gets tiresome over a two-hour period. Angelina Jolie plays Callas. While her performance is noteworthy, she doesn’t look anything like the great diva. Callas was stately with a prominent nose. She was born in New York City to Greek immigrant parents and later lived in Greece during World War II. California-raised Jolie has none of that Greek goddess look.
The sets are grandiose, and the camera work and direction are striking. Paris looks like Paris – wonderful! The costumes are carefully chosen. Obviously, the music is l worthwhile. However, the psychological state of Callas soon becomes tedious and drags down the entertainment value. We see flashbacks to past days—times with Ari Onassis and even a meeting with JFK, but Callas is the same wearisome woman.
Shortly after viewing Maria on Netflix, I received their digital magazine. There is a lead article which contains “answers to all your burning questions about Maria…”. The article explains background information such as Jolie training as an opera singer for the role. But the article also explains aspects of the film that should not need additional explaining. Who is a particular major character? Did she really meet Kennedy? What is the meaning of the ending? I think it’s embarrassing to have to explain so much of a film that isn’t abstract and is meant for mainstream audiences.
The Critic tells the fictional story of Jimmy Erskine, a powerful London theater critic, played by the great Ian McKellen. He, as Maria, is nasty to people in his sphere. But Erskine goes further than Callas ever went. He uses an actor who, like himself, seeks power and success, and sets up a murder. This is a dark film – dark in nature and dark looking. Lots of night shots and interiors with shadowy light. The story is unpleasant, but the script has variations in emotion – a quality missing from Maria. McKellen fills the screen, flouncing, pouncing, and truly enjoying his evil character. Patrick Marber wrote the script. There is violence, blackmail, people using people, people with power abusing people.
The cast includes Alfred Enoch, Mark Strong, Lesley Manville, and Romola Garai. The Critic is a tasty pleasure for those who relish evil doing, but for most viewers, it’s over the top.
Audrey Kupferberg is a film and video archivist and retired appraiser. She is lecturer emeritus and the former director of Film Studies at the University at Albany and co-authored several entertainment biographies with her late husband and creative partner, Rob Edelman.
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