Maria **
by Pablo Larrain
International co -production, 2 h 04
Communication surrounding the exit of Maria Insists the perfectionism of her main interpreter, Angelina Jolie. For more credibility, the actress took song lessons in order to mix, during certain scenes, her voice with that of Callas. It remains to be seen whether this professionalism, assisted by the modern tools of sound mixing, illuminates the film by Pablo Larrain…
To tell the truth, not really. Focused over the last week, in September 1977, of the now sad and recluse life of the singer, the director paints a portrait of a physical and existential exhaustion. Neither drugs nor the absolute dedication of a small close guard can ward him off. Maria dies of no longer being Callas, as Callas suffered from not being Maria.
A scrupulous reconstruction
Confined in her Parisian apartment, the one that was as adulated as hated for her immediately recognizable voice, her dramatic incandescence and her intransigence, dreams of a return on stage. While knowing that these are only painful chimeras. The memories of the past stretch the disillusions, those of unloved childhood like those of the years of glory.
Between Flash-Back where Maria-Angelina appears in her greatest roles and daily routine, the film can be done in a scrupulous reconstruction. Only a few dreamlike escapes in Paris of the beautiful districts bring their singular tone, too fleeting however. Emotion is only actually arising from the affectionate presence of the Bruna and Ferruccio Mezzadri couple in the service of a “boss” so fragile that they watch it like milk on fire. Alba Rohrwacher and Pierfrancesco Favino are perfect for sober and lucid tenderness.
An image that hides
Bathed in golden lights, refined as the outfits of the diva, Maria Device strangely cold, neutral. Angelina Jolie’s commitment is not in question but, too impeccable, her game seems to be placed on an image of icy paper whose contours are shirking. Furthermore, the musical passages certainly numerous testify only to insufficiently the exceptional magnetism of the soprano.
It is not enough that the dialogues insist on the links between women and their art. The image, the soundtrack, the editing, the heartbeat of the film must be its vibrant expression. If Pablo Larrain signs a meticulous partition, it is missing the essentials.
• No ! *Why not ** Good movie *** Very good film **** Masterpiece
(Tagstotranslate) Cinema critic