Sigue la vida de la mayor cantante de ópera del mundo, Maria Callas, durante sus últimos días en el París de los años setenta.Sigue la vida de la mayor cantante de ópera del mundo, Maria Callas, durante sus últimos días en el París de los años setenta.Sigue la vida de la mayor cantante de ópera del mundo, Maria Callas, durante sus últimos días en el París de los años setenta.
- Dirección
- Guión
- Reparto principal
- Nominado para 1 premio Óscar
- 6 premios y 29 nominaciones en total
Erophilie Panagiotarea
- Young Yakinthi
- (as Erofili Panagiotarea)
Lyès Salem
- Waiter
- (as Lyes Salem)
Reseñas destacadas
I agree with blanche-2 and other reviewers, as a former opera student for many years and opera lover and connoisseur.
This may be a delight for those who like Angelina Jolie and like to see a beatiful face on screen, but nothing here resembles the unique quality of divine Maria.
For starters, this is the worse lip-sync I have seen in my life in a biopic of a singer, and it was a surprise that a movie supposed to be a first-rate production went ahead ignoring this major failure. After all, singing is to the essence of the film, it is not a secondary scene. And if you want to recreate Callas life using real recordings, the performative effort must be flawless. Of course it is as hard as demanding, but if you want to compare Jolie's playback what a remarkable, well-executed example, please watch La Mome, the biopic about Edith Piaf, and find delight in Marion Cotillard's perfect, unbelievably good execution. (Jolie's lack of sync is as unbelievable.)
Then, the physique du role. Jolie is one of the most beautiful actresses of our time. But it has physical disparities with Callas which cannot be solved with make-up, and the lack of resemblance spoils the effort. Callas's beauty was tempered, life-chiseled, acquired, a result of a deep effort at self-awareness and self-hardening and reshaping her destiny. That kind of subjective process simply «showed» in her regal attitude, and imposing scenic presence. Jolie is a born beauty, her beauty a gift given from the start, and, in my opinion, she did not manage to convey the dramatic depth of Callas's appeal enough as to create the magical impression that we are seeing a credible Callas.
Also, for those who love opera, Jolie's embouchure (the singers' «mouth mould») is a joke, nothing close to the unmistaken bel canto mouth frame which opera singers (and Callas) distinctively employ. It may seem an unimportant detail, but the sum of inconsistencies and lack of attention to detail ends up being irritating.
I have not listed other observations already pointed by reviewers, which which I concur, related to the use of music score, plot and realism. I really wanted to like the movie, but it was a total disappointment to me.
This may be a delight for those who like Angelina Jolie and like to see a beatiful face on screen, but nothing here resembles the unique quality of divine Maria.
For starters, this is the worse lip-sync I have seen in my life in a biopic of a singer, and it was a surprise that a movie supposed to be a first-rate production went ahead ignoring this major failure. After all, singing is to the essence of the film, it is not a secondary scene. And if you want to recreate Callas life using real recordings, the performative effort must be flawless. Of course it is as hard as demanding, but if you want to compare Jolie's playback what a remarkable, well-executed example, please watch La Mome, the biopic about Edith Piaf, and find delight in Marion Cotillard's perfect, unbelievably good execution. (Jolie's lack of sync is as unbelievable.)
Then, the physique du role. Jolie is one of the most beautiful actresses of our time. But it has physical disparities with Callas which cannot be solved with make-up, and the lack of resemblance spoils the effort. Callas's beauty was tempered, life-chiseled, acquired, a result of a deep effort at self-awareness and self-hardening and reshaping her destiny. That kind of subjective process simply «showed» in her regal attitude, and imposing scenic presence. Jolie is a born beauty, her beauty a gift given from the start, and, in my opinion, she did not manage to convey the dramatic depth of Callas's appeal enough as to create the magical impression that we are seeing a credible Callas.
Also, for those who love opera, Jolie's embouchure (the singers' «mouth mould») is a joke, nothing close to the unmistaken bel canto mouth frame which opera singers (and Callas) distinctively employ. It may seem an unimportant detail, but the sum of inconsistencies and lack of attention to detail ends up being irritating.
I have not listed other observations already pointed by reviewers, which which I concur, related to the use of music score, plot and realism. I really wanted to like the movie, but it was a total disappointment to me.
Maria is a solid musical bio pic. A great lead performance from Angelina Jolie holds this movie together pretty well and I admire how much she put into this role, especially the opera singing. The plot is a little messy and the pacing is a tad off but I still think the movie is purely entertaining enough to enjoy and it is also educational about this time period and opera in general. It's a beautifully shot and directed movie. I love the editing and the black and white shots are gorgeous. I think this is a solid film from Pablo Larrain with a potential Oscar winning performance from Angelina Jolie.
I understand the criticism of this movie. The lip synching was indeed terrible. And the writer and director did Callas a personal disservice by focusing on this part of her life, when she was crazy and high and alone. But I don't believe a biopic has a responsibility to show a person's entire life. It can show a portion, if meaningful and true - which this was, even if it was unflattering. The sad decay of a brilliant life is a story worth telling, and this was told with tenderness.
The flashbacks could have added more value and depth by following a linear plot, showing the arc of Callas's career, her great love story and the many sides of her personality. They could have done more to educate viewers about who she was, the complexity of her character and her artistic process. But the director chose instead to play her life back as her own mind might have in those last few days: fragmented, intense last gasps. We see her grapple with pride and regret, asking herself if it was all enough. It's as much a movie about the act of dying as it is about her, and for that I found it beautiful.
Jolie did better than I expected, and I even think she looked like Callas in the black and white scenes. Too beautiful, but Jolie possesses a similar woundedness that translated certain elements sufficiently. While she captured Callas's tortured and demure sides, she did not capture her charisma, temper or ruthless perfectionism. It was a valiant attempt at a role no one could have played perfectly. Callas was untouchable in life, and knowing she still is in death made me love her even more.
In short, the movie was imperfect but its intention was sincere. A deep love for Callas came through that made it worth watching, if you can focus on the story being told instead of the story you wish were being told.
The flashbacks could have added more value and depth by following a linear plot, showing the arc of Callas's career, her great love story and the many sides of her personality. They could have done more to educate viewers about who she was, the complexity of her character and her artistic process. But the director chose instead to play her life back as her own mind might have in those last few days: fragmented, intense last gasps. We see her grapple with pride and regret, asking herself if it was all enough. It's as much a movie about the act of dying as it is about her, and for that I found it beautiful.
Jolie did better than I expected, and I even think she looked like Callas in the black and white scenes. Too beautiful, but Jolie possesses a similar woundedness that translated certain elements sufficiently. While she captured Callas's tortured and demure sides, she did not capture her charisma, temper or ruthless perfectionism. It was a valiant attempt at a role no one could have played perfectly. Callas was untouchable in life, and knowing she still is in death made me love her even more.
In short, the movie was imperfect but its intention was sincere. A deep love for Callas came through that made it worth watching, if you can focus on the story being told instead of the story you wish were being told.
Just watched the film at a film festival. Our entire group was disappointed by what we watched.
The story line was paper thin to us, focused on the last part of her life, with major parts of the history around how events tied together left out. We would move from one scene to another without a clear link between sequences.
The focus seemed to center around Jolie posing for us, rather removed of the charm of the real Maria. I get it - Angelina is gorgeous but where was the spark?
I never felt like I connected with the characters and didn't feel bought into the film. There was a hollowness to this version of Maria Callas.
At the end of the film, as the end credits start, there are scenes of the real Maria Callas - full of personality and charisma - which were unfortunately not portrayed in Jolie's performance.
Gorgeous costume designs but that was it for me.
The story line was paper thin to us, focused on the last part of her life, with major parts of the history around how events tied together left out. We would move from one scene to another without a clear link between sequences.
The focus seemed to center around Jolie posing for us, rather removed of the charm of the real Maria. I get it - Angelina is gorgeous but where was the spark?
I never felt like I connected with the characters and didn't feel bought into the film. There was a hollowness to this version of Maria Callas.
At the end of the film, as the end credits start, there are scenes of the real Maria Callas - full of personality and charisma - which were unfortunately not portrayed in Jolie's performance.
Gorgeous costume designs but that was it for me.
I am sure this film was made with great care and love, BUT what it lacked the most of, in my opinion is BREATH.
Opera singers learn how to controle their breath so to captivate ours. And I agree with the other less favourable reviews that the opening scene really was a bad example of lip-synching particularly because I could not see ms Jolie breathe!
Of course La Callas lived a glamorous life but to me the focus seemed to be more directed towards the visual in this movie.
This is a film that made me stop watching it to the end, and I am sorry for it. I too had high hopes for these two iconic ladies.
Opera singers learn how to controle their breath so to captivate ours. And I agree with the other less favourable reviews that the opening scene really was a bad example of lip-synching particularly because I could not see ms Jolie breathe!
Of course La Callas lived a glamorous life but to me the focus seemed to be more directed towards the visual in this movie.
This is a film that made me stop watching it to the end, and I am sorry for it. I too had high hopes for these two iconic ladies.
¿Sabías que...?
- CuriosidadesAngelina Jolie, refusing to be dubbed and wishing to perform her own singing, took 7 months of opera lessons to prepare for her role. For the scenes set during Callas' heyday, an estimated 90 to 95 percent of Callas' original recordings were used, with Jolie lip-synching along to these songs. However, Jolie's singing comes to the fore during the film's final act.
- PifiasIt is stated that Maria had her first leading role in Venice in 1949, playing the role of Elvira in "I puritani". Actually, it was in Athens in 1942, the part of Marta in "Tiefland".
- Citas
Maria Callas: Book me a table at a café where the waiters know who I am. I'm in the mood for adulation.
- ConexionesFeatured in MsMojo: Top 10 Best Netflix Releases of 2024 (2024)
- Banda sonoraOtello Act 4: 'Ave Maria' (Desdemona)
Performed by Maria Callas, Orchestre de la Société des Concerts du Conservatoire
Conductor: Nicola Rescigno
Written by Giuseppe Verdi, Arrigo Boito
A Warner Classics Release, (p) 1964 Parlophone Records Limited
Remastered 2014 Parlophone Records Limited
Courtesy of Warner Music Group Germany Holding GmbH, a Warner Music Group Company
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Detalles
- Fecha de lanzamiento
- Países de origen
- Sitio oficial
- Idiomas
- Títulos en diferentes países
- María Callas
- Localizaciones del rodaje
- Budapest, Hungría(Opera House, Music Academy, various locations)
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Recaudación en todo el mundo
- 25.271.304 US$
- Duración2 horas 4 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1
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What is the Canadian French language plot outline for Maria Callas (2024)?
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