Pablo Larraín's Maria is triumphant. This film was everything I wanted it to be and more, which is such a delight when I have a lot of love for this unofficial series of films that Pablo has done. Something about them feel so innovative and different to me. Out of the three, Maria feels the most traditional- less subversive, not as experimental. Even then, it doesn't fall into the typical tropes of any other biopic.
Maria is grand and opulent, just like Spencer (and Jackie, kind of) were. However, it's even bigger than its predecessors in scope, and yet often colder, for good reason. The ambience created for the storm was absolutely stunning. Classic, romantic, bleak, beautiful. The sets and costumes were gorgeous. The cinematography was just as marvelous. And of course, the music. The orchestra soared in the theater. It was often the music that brought the most emotion out of me, and gave me the most chills. They nailed it.
Angelina Jolie is, of course, the centerpiece of this film. I have to say, after Spencer, I really wanted Pablo to stick the landing with Maria as a grand finale, just because the first two were so brilliant. As soon as Angelina was announced in the titular role, I knew I was in good hands.
This is instantly one of her best performances and the best performance I've seen all year. So far, she has only been recognized by the Academy for her more dramatic performances, but this one showed that she commands just as much attention through subtlety. Her character is continuously intimidating, but she never has to yell to get you to focus on every word out of her mouth. To achieve this intimidation, and to embody such an iconic diva, they needed someone who commands any room herself. Jolie could not have been a better pick. This is one of the best comeback performances I've seen on screen. That last sequence devastated me.
To me, Jolie's performance never overshadowed the other parts of this film that we're done so masterfully. The writing was incredible- So witty and clever, and often poetic. As for direction, Pablo Larraín fires on all cylinders for this last entry in his trilogy. Everything about it was sheer perfection. I have no notes, truly. So many sequences were constructed to absolutely break you in the best way possible. Not enough praise is being made for how he executed this film. At the end of the day, this trilogy of his highlights the actresses that perform in them. With Maria though, I realize that these performances are just as much a vehicle for Larraín's brilliance as they are a showcase of the actresses' talents. The structure of this film had me on the brink of tears for nearly the entire run time.
I couldn't be happier with the film as a whole, and how it concludes this trilogy through references tying the films together. As a fan, I especially appreciated the two scenes that link Maria back to Jackie. It sort of makes these bodies of work come together in a bit of an official way.
So far, this is the best film I've seen all year and an instant favorite of the decade, and that is such a blessing when it's a project you've been waiting for for so long. It definitely created a newfound love and appreciation for opera that I definitely didn't have before. I played Opera all night after, for the first time ever.
I know when a movie becomes a favorite when I'm absorbed into its world and never want to leave. That was the case here. Paris in 1977, Maria's apartment, it's as comforting as it is haunting. There was so much familiarity there for me.
I have seen it twice now, both at the New York Film Festival. Once again, chills washed over me as I watched the last sequence. It's a triumph when a film has such a strong effect on you twice in such a short amount of time, just under two weeks. Larraín is a master.
This film is tremendous on it's own, but as a fan of the previous two, I have to analyze beyond. Like Diana previously, Maria has hallucinations throughout the film. Unlike in Spencer, these aren't just of-the-moment visions and delusions. They're characters in Callas' life. They're companions that revisit her time after time. Her dreams are abstract and bring her memories from the past to her present. This film shares a lot with its predecessors, but there is one thing I'm still questioning even after a second watch.
Jackie is a film about loss. It is central to the story. You can describe everything the character is feeling in one word: Grief.
In Spencer, Diana squirms her way to freedom from a life she loathed. Liberation.
Here, I don't know what the central theme is. Not that it matters, but I can't place a central idea at the core of this story. Maybe there isn't one, or maybe I just don't see it yet. It might click with me next time, when it's in theaters again.
Do not miss MARIA. It is incredible.
