Maria Callas: The Legendary Life ‍2024 Angelina Jolie Brings Maria’s Soul to Life

Eve Zhang

A few months ago, I learned about the movie Maria, which centers on opera diva Maria Callas, and that it was set to be released at the end of November. I purchased tickets online a week in advance and invited two music-loving friends to join me for the North American premiere at the Smith Rafael Film Center in Marin County on the night before Thanksgiving. Perhaps because many Americans were busy preparing their Thanksgiving turkeys, the theater wasn’t very crowded that evening.

This film is a biographical work that uses meticulous storytelling and artistic techniques to recreate the final years of opera legend Maria Callas. Directed by Pablo Larraín and written by Steven Knight, the film employs a non-linear narrative and cinematic montage to transport viewers back to 1977, exploring the last week of Callas’s life and her profound reflections on her past.

Angelina Jolie takes the lead role, delving deep into the artist’s inner world. To portray the character, she dedicated seven months to rigorous opera training. Through her exceptional acting, Jolie brings to life this eternal icon of the opera world. The film portrays Callas’s loneliness, internal struggles, and artistic achievements in a dramatic yet emotionally nuanced way, painting a vivid picture of her complex personality as an artist and the raw humanity of her life story.

This film is a meticulously crafted work of art by the director, who chose Angelina Jolie to use the cinematic lens to intertwine the legendary life of Maria Callas with the emotional turbulence within her soul. The result is a deeply moving artistic feast for audiences, while also portraying Callas’s pursuit of love, career, and freedom against the backdrop of her era. More than just a tribute to Callas on the centenary of her birth, the film is also a profound exploration of fame and loneliness.

Jolie’s portrayal of Callas undoubtedly captures her unique “regal aura.” These two queens from vastly different domains—opera and Hollywood—both create timeless legends on their respective stages through mastery of detail and the expression of intense emotion. This portrayal not only redefines Maria Callas’s image but also sheds light on her greatness and depth as an independent and resilient soul.

Angelina Jolie’s portrayal of Maria Callas is extraordinarily successful. She not only embodies a woman of noble elegance but also captures the physical and emotional frailty that consumed the opera diva in her final days. Overuse of medication left her memory entangled with hallucinations, gradually blurring the line between reality and imagination. From this haze, she produces complex and magnificent arias—just as the Greek-American soprano once sang so powerfully in Europe’s greatest opera houses.

The tragedy of this opera heroine lies in the contrast between her unrivaled voice, which propelled her to the pinnacle of stage success, and the reality of her life behind the curtain, where she was never fully able to tell her own story, far from the glare of the spotlight. Through meticulous direction and writing, the film captures this duality. Its stunning visuals, exquisite craftsmanship, and sophisticated costume design draw viewers into the beauty and sorrow of Callas’s world, offering a poignant and unforgettable cinematic experience.

The film features the participation of numerous European opera house choirs, contributing to many unforgettable scenes. One particularly striking moment takes place outside the Palais de Tokyo in Paris, on the grand plaza of the Musée d’Art Moderne. Maria envisions the “Anvil Chorus” from Verdi’s Il Trovatore being performed.

Set against the backdrop of the Eiffel Tower, the choir members deliver a breathtaking performance on the expansive platform, their powerful harmonies enveloping Maria. The grandeur of the scene, with its stunning visual and musical artistry, creates an overwhelming atmosphere that leaves the audience breathless. This majestic sequence vividly recreates Maria’s once-glorious days on stage, capturing the triumph and splendor of her career at its peak.

Another remarkable scene is the finale from Puccini’s Madama Butterfly, depicting Cio-Cio-San’s final moments. It’s unclear whether the setting is the entrance of a Catholic cathedral or an opera house, but the atmosphere is hauntingly poetic. The scene begins with a group of musicians dressed in white suits, playing their instruments. As rain begins to fall, they remain standing, their music seemingly “soaked” by the rain, creating an ethereal effect.

A choir of artists dressed in vibrant pink Japanese kimonos, carrying lanterns and red umbrellas, slowly converges from the edges of the plaza. Accompanied by the soft humming of a chorus from Madama Butterfly, Maria stands at the center, singing her final aria, “Un bel dì vedremo,” with profound emotion. The cinematic technique alternates between overhead and panoramic shots, creating a breathtaking visual impact.

The scene is a masterpiece of beauty and sorrow—a stunning combination of striking imagery and heart-wrenching music that leaves the audience utterly devastated. Tears flow like the rain, blurring the boundary between reality and art. To me, this moment exemplifies the genius of a true cinematic master, delivering an unforgettable experience that lingers long after the credits roll.

This passage is filled with poetic elegance and deep emotion, painting a vivid, cinematic scene of Maria’s journey and inner world:

The golden sunlight filtered through the branches of the sycamore trees, creating a shimmering carpet of fallen leaves on the ground. Maria’s figure slowly emerged from the shadows of the opera house. Her steps were measured, and each one seemed to crush not only the brittle leaves beneath her feet but also fragments of memories—memories of the dazzling stages she once graced, the applause that lit up her world, and her days as a celebrated socialite effortlessly navigating glamorous soirées in the finest gowns.

She was no longer the radiant star of the stage, no longer the adored belle of high society. Time had inevitably etched its marks on her, softening the sharp brilliance of her youth. Yet, despite this, Maria remained incomparable—her gaze still carried a trace of defiance, and her movements exuded an unshakable elegance. The perfectly tailored long coat she wore caught the golden sunlight, glimmering softly like an echo of her once-regal presence. Her luxurious fur coat seemed like a silent armor, wrapping her in an aura of distant sophistication.

Walking beneath the shadows of the sycamore trees, Maria became a timeless figure, embodying both past and present while resisting replication by the future. She was unique, irreplaceable—a legend born from the depths of time. Her beauty was tinged with solitude, so moving it could bring tears to one’s eyes, so captivating it was impossible to look away, so unforgettable it lingers in memory even now.

This scene, rich in literary and visual impact, feels like a painting come to life, offering an unforgettable glimpse into a character who remains both ethereal and profoundly human.

Maria’s impeccable taste in fashion reached an almost unattainable pinnacle. The enviable silk scarves she draped effortlessly, the weighty gold jewelry that adorned her, the perfectly fitted leather gloves, and her signature oversized glasses all elevated her regal presence to an untouchable height. Every piece she wore seemed carefully chosen to underscore her queenly aura. The dramatic lenses of her glasses might have shielded her piercing gaze, but behind them lay a vulnerability that was all too human—a softer side that revealed itself in the tender dynamic she shared with her two devoted caretakers.

These two women were more than employees; they were like family, exuding a warmth and intimacy that softened Maria’s otherwise commanding presence. The housekeepers cherished their employer, doting on her with heartfelt care and attention. Her personal maid, in particular, was deeply affected by Maria’s struggles with appetite. Watching her beloved Madam Maria lose interest in food was a source of quiet heartbreak. Yet, each morning, she persevered, preparing delicate egg pancakes, hoping to coax her into eating.

The relationship between the three of them was as nurturing as it was unique—a poignant blend of love, loyalty, and shared humanity. In their gentle moments of care and connection, Maria shed the layers of her imperious exterior, revealing the quiet fragility beneath her gilded armor. This bond, so intimate and genuine, painted Maria not only as a figure of grandeur but as someone deeply loved and unshakably human.

Interestingly, Maria often had her driver move the grand triangular piano from the living room to the study and back multiple times a day. This constant rearranging seemed like a way for her to impose control, especially when it came to punishing the male servant for his oversight of her medication regimen. It was a subtle form of authority, a way of demonstrating power over her household.

Despite these peculiarities, the family chauffeur, who also served as the butler and secretary, remained unwaveringly loyal to her. Every day, without fail, he would stop by the florist to pick up a fresh bouquet of red roses and place them delicately on the piano. This ritual, simple yet tender, was his silent tribute to Maria—an expression of devotion amidst the complexities of their relationship. His daily act of care, amidst the chaotic dynamics of the household, spoke volumes about his dedication to her, a loyalty that transcended the shifting moments of tension or frustration.

Maria has two pet dogs, and during their “dog training” sessions, her canine companions usually only responded to commands given in Hungarian. This peculiar detail added an intriguing layer to Maria’s world. Behind the scenes, Jolie, the devoted maid, spent countless hours studying the Hungarian commands to communicate with the dogs effectively. She would carefully learn the phrases, patiently practicing to ensure the dogs understood her.

In addition to mastering the commands, Jolie also took on the responsibility of feeding the loyal pets, further deepening her connection to the household. Her quiet devotion extended to every aspect of Maria’s life, from her personal care to her pets’ well-being. The relationship between Jolie and the dogs was one of trust and affection, reflective of the larger, familial bond between the three women. It was a testament to Jolie’s loyalty and the subtle, yet deeply human, care she gave to everything Maria held dear.

The two housemaids were the last people to remain by Maria’s side, standing as her unwavering companions through the changing tides of time. As her life evolved, with its glittering past slipping further into the distance, these two women became her constant presence, offering both practical care and emotional support.

In a world where the lights of her former glory had dimmed, they were the ones who continued to look after her with tender devotion. They witnessed her fragility, understood her silent struggles, and offered a refuge of comfort and familiarity. More than just caretakers, they had become a family of sorts—essential to Maria’s world, providing the stability and love that anchored her through the quiet moments of solitude. Their loyalty was not just a service but a deep, emotional bond forged through years of living and working closely with the woman who had once been a star, a socialite, and a queen in her own right.

Maria’s legendary life and artistic achievements are truly admirable, yet her brief but intense career also evokes a sense of melancholy. As a Greek-American opera artist born in New York, Maria Callas became one of the most celebrated women in the 1950s, hailed as the “soul of the bel canto opera revival.” Through her profound interpretations of 19th-century works by Bellini, Donizetti, and Rossini, she brought these classics back into the public eye and remains, to this day, regarded as an irreplaceable opera diva.

However, her personal life was equally dramatic and tumultuous. Perhaps the most talked-about aspect of her life was her sensational romance with Greek shipping magnate Aristotle Onassis. Their relationship became a media sensation, and it garnered even more attention when Onassis ultimately married Jacqueline Kennedy, the widow of U.S. President John F. Kennedy. This unfulfilled romance added layers of regret and tragedy to Maria’s emotional life.

This complicated relationship has been portrayed numerous times in films and biographies, often embellished with juicy details. For instance, U.S. President Kennedy famously invited Maria to perform at the White House, a scene often juxtaposed with another sensational story: Marilyn Monroe singing “Happy Birthday” to President Kennedy. These moments not only highlight Maria’s immense influence as an opera legend but also reveal the dramatic nature of her personal life.

Despite this, Maria always kept art at the center of her existence. The film includes several intimate scenes of her auditioning privately at the opera house, where the director hopes for her voice to return to its former glory so she can once again take to the stage. Her unparalleled talent, dedication to music, and stage presence continue to set the standard in the opera world, unmatched by anyone even to this day.

In the scene where Maria bids farewell to the shipping magnate, one of the most memorable moments is described by a netizen, Cathy: “One of the most striking scenes is when Maria visits the terminally ill Onassis, and he confesses his deep feelings for her. Just then, his wife, Jacqueline, arrives. Maria quietly exits through the back door. A reporter following Maria says to her, ‘She is his wife, but you are his life.’ This phrase, for a woman who has faced so much heartbreak in love, must have been the greatest form of compensation.”

This line poignantly captures the emotional complexity of Maria’s life, especially in her relationships. It subtly acknowledges the depth of the connection between Maria and Onassis, one that transcended the formalities of marriage, providing Maria with a bittersweet sense of validation, even though their love never fully materialized. The reporter’s words, though simple, offered a profound acknowledgment of Maria’s place in Onassis’s life, compensating for the emotional void left by the end of their affair.

There are several theories about the reasons behind Maria Callas’s loss of her once mesmerizing voice in her 40s, and one of the most widely circulated, though unverified, stories suggests a deeply personal tragedy. It is rumored that Maria had a passionate relationship with Greek shipping magnate Aristotle Onassis and became pregnant with his child. Tragically, the child died shortly after birth, which devastated Maria. Some believe this sudden loss deeply affected her emotionally and physically, leading to a decline in her voice.

In addition to this rumor, other theories suggest that multiple factors contributed to her vocal decline. Health issues were likely a significant factor: Maria, in an effort to maintain her stage image, underwent rapid weight loss, which may have compromised her breath support and vocal cord function. Professional pressures also played a role: the years of intense performances and constant stress could have accelerated the aging of her vocal cords. Furthermore, psychological factors, such as emotional setbacks and loneliness in her later years, may have indirectly impacted her vocal expression and performance.

Together, these elements paint a picture of a complex combination of physical, emotional, and professional challenges that ultimately led to the fading of one of the greatest voices in operatic history.

The film offers a fresh portrayal of Maria Callas, with the director and screenwriters focusing on her control over her own life and career, rather than depicting her as a woman who succumbs to despair after failed love. It highlights her deeper strength and complexity. Maria is not just a diva elevated by the world’s adoration; she is also someone who, under immense external pressure, continues to assert her individuality and strives to reshape her life.

In the film, every posture, gesture, and tone of Maria is a carefully considered artistic . This level of precision is not limited to her roles on stage; she maintains this poise and restraint in her everyday life. Even when faced with probing questions from the media, she never reveals her emotions easily. Instead, she defends her dignity through masterful communication. This meticulous control over her image evokes the acting style of Angelina Jolie—calm, elegant, and powerful. The two seem like “twin souls” spanning across time. Through Jolie’s exceptional portrayal, she not only brings Maria’s soul to life but also connects with the souls of the audience, creating a resonating, layered experience.

This is a film that lingers in your thoughts long after watching, and undoubtedly, Jolie’s performance is a triumph. Based on her dedication and the depth she brought to the role, I believe Angelina Jolie should take home the Oscar for Best Actress next February.

The design of this music salon is nothing short of brilliant, placing the final scene of Maria Callas’s life in a setting that is both intimate and grand. The piano is moved to the study, the living room transforms into a stage, and the orchestra surrounds her, while the world outside seems to become the ultimate audience of her life. In this special space, Maria’s voice transcends not only the walls of the living room but also time and memory, reaching straight into the hearts of those who listen.

In reality, this concert never took place; it is a hallucination in Maria’s mind—her most cherished farewell performance. Perhaps in her imagination, she envisions herself still standing on stage, bidding farewell to the world she both loved and was hurt by, in the purest, most beautiful way possible. Her voice in this fantasy becomes particularly captivating, and the aria she sings feels like a summation of her life, as well as the final interpretation of her relentless pursuit of art.

On the street outside, people pause in their tracks, as if summoned, to listen. The silence outside the building and the focused attention of the crowd intensify the dramatic atmosphere of the scene: Maria’s voice surpasses the limitations of reality. In her illusion, this concert has nothing to do with applause or accolades, but is instead a profound resonance between her, her art, her life, and her innermost self.

Through this scene, the director masterfully captures both Maria’s inner loneliness and longing, while also providing a poetic and dignified conclusion to her brief yet brilliant life. This is not just a hallucinated farewell concert; it is Maria Callas’s eternal curtain call as the “Queen of Opera.”

Maria Callas, a diva who considered opera to be above all else, believed that beautiful music did not come from happiness, but rather from pain and suffering. The protagonist also feels regret over her distant, glorious years. It is a realization of how fleeting life is, urging us to cherish every irreplaceable moment. Maria Callas, in a way, embodied the essence of a Greek goddess—one who comes once in a century, never to be replicated again.

In the movie Some of Maria’s original voice, some by other artists, the sound track listed:

Otello Act 4: 'Ave Maria'

I Puritani, Act 2: 'Qui la Voce Sua Soave'

Norma, Act 1: 'Casta Diva'

La Traviata, Act 1: 'Sempre Libera' (Violetta, Alfredo)

Gianni Schicchi: 'O Mio Babbino Caro'

Performed by Maria Callas

La Wally, Act 1: 'Ebben? Ne Andrò Lontana' (Wally)

Performed by Maria Callas

Carmen - L'Amour Est un Oiseau Rebelle

The movie I watched on 11/27 has already been three weeks. I started writing my thoughts on the first night, staying up until 2 a.m. In the past few days, the film has been available on Netflix for over a week, and many friends have started paying attention to it, so I quickly finished my draft.

If you look online, the reviews are averaging 3.4, and not all viewers liked it. Some feel the pacing is too slow. However, I think it’s a very good art film. The music in it is all very familiar, especially with references to many classic operas by Verdi, Puccini, and Bizet’s Carmen. I would give it 5 stars. I’m thinking about going to the cinema again in a few days to watch it once more.

Eve Zhang

12/14/2024, at Guanyun Pavilion, San Francisco Bay Area.

I read in a recent article by Mr. DAVID CANFIELD at Venty Fair that Angelina Jolie plays Maria, who follows Callas through the final, lonely days of her life, and in that melancholic frame, it gives Jolie room to deliver an extremely vulnerable performance. The role requires her to examine herself, as she has in her recent work, and she is still trying to understand how the experience affected her and what she wants to say about it. But she feels ready to move on, and perhaps ponder why it took her several years to "come back to life."