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Maria Callas, the world’s greatest opera singer, spends the final days of her life in 1970s Paris, coming to terms with her identity and her life. Angelina Jolie and director Pablo Larrain discuss how they connected to the heartbreaking true story of world-famous opera singer Maria Callas. Angelina Jolie, refusing to be dubbed and wanting to perform her own singing, spent 7 months training at the opera to prepare for her role. For scenes shot in Callas’ heyday, approximately 90 to 95 percent of Callas’ original recordings were used, with Jolie lip-syncing the songs. However, Jolie’s singing comes to the fore in the film’s final act. In the third part of the film, a gray-black Citroën 2cv Charleston stands in the background. The car was first presented at the Paris Motor Show in 1980, 3 years after La Callas’ death… Maria Callas: Book me a table in a café where the waiters know who I am. I am in the mood for praise. Close-up reference: Why do we need a Venice Film Festival? (2024). Othello 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 Limited0Remas4C Parlophone Records Limited Warner Music Group Germany Holding GmbH, a Warner Music Group company. I agree with Blanche-2 and other reviewers as a former opera student and a lover and connoisseur of opera. It may be a pleasure for those who like Angelina Jolie and like to see a beautiful face on screen, but nothing here compares to the unique quality of the divine Maria. For starters, this is the worst lip-sync I’ve ever seen in a singer’s biopic, and it’s a surprise that the film, which should have been a first-rate production, was executed without this major setback. After all, the singing is the essence of the film, not a secondary scene. And if you want to recreate Callas’ life using real recordings, the performance effort has to be impeccable. Of course, it’s as difficult as it is demanding, but if you want to compare Jolie’s performance to a brilliant, well-executed example, please watch La Mome, the biopic about Edith Piaf, and marvel at Marion Cotillard’s perfect, incredibly good performance. (Jolie’s lack of lip-syncing is equally incredible.) Then there’s the physique. Jolie is one of the most beautiful actresses of our time. But she has physical differences with Callas that can’t be fixed with makeup, and the lack of resemblance ruins the effort. Callas’s beauty was tempered, honed by life, acquired through deep self-awareness, self-hardening, and the transformation of fate. Such a subjective process simply „appeared” in her regal bearing and imposing scenic presence. Jolie is a born beauty, her beauty is a gift given from the very beginning, and, in my opinion, she failed to sufficiently express the dramatic depth of Callas’s appeal to create the magical impression that we see a believable. Callas. Even for those who like opera, Jolie’s embodiment (the singers’ „mouth mold”) is a joke, nothing close to the infallible bell. canto mouth frame that opera singers (and Callas) especially use. It may seem like an unimportant detail, but the sum of the contradictions and the lack of attention to detail is ultimately irritating. I haven’t listed other observations already made by reviewers that I agree with, related to the use of musical score, plot, and realism. . I really wanted to like the film, but it was a complete disappointment for me.. "One Hundred Years of Solitude" is one of the biggest TV and streaming premieres this month. Check out our December calendar for more details!