''Maria" for your consideration
Angelina Jolie as Maria Callas. A pivotal moment in Maria, Pablo Larraín's reimagining of La Divina’s final days in Paris. Watch now on Netflix.
(Santa Fe, NM) - Let’s get this out of the way: Maria is not a holiday movie. However, it’s an absolute must-watch for anyone familiar with opera. We approached the film with some trepidation, having been warned of its profoundly sad tone. We knew it would be a difficult watch but given the magnitude of Angelina Jolie’s star power and the glimpses we’d caught in previews, we felt compelled to sit down and experience it.
This will be a spoiler-free discussion—just some takeaways from our viewing. Ultimately, we don’t think this film will significantly boost interest in opera as an art form. Perhaps it might—I’m not ruling that out—but the story is so rooted in a unique moment in the 20th century that it feels like another world entirely. It’s the world Maria Callas inhabited during her peak and until her death in 1977. Her universe was wherever glamour was found, including Paris, where she lived until her death. Her personal life included a high-profile affair with Aristotle Onassis while he was married to Jackie Onassis. Her contemporaries included figures like JFK and Marilyn Monroe. It was an era when Maria Callas wasn’t just an opera singer; she was a global celebrity, a tabloid fixture, a beacon of beauty and elegance.
Opera’s Golden Age and Today’s Cultural Landscape
The 1950s and 1960s were a golden age for opera, particularly in the United States. Figures like Callas achieved a level of fame that transcended their art. Today, that’s simply not the case. Opera is no longer held in the same regard, and we no longer have stars of Callas’ magnitude. In fact, in this modern age, to be universally famous, one typically has to be in tech (let’s not go there) or pop music, where figures like Beyoncé reign supreme. Our current cultural landscape is one of sensory overload, driven by the internet and the constant churn of pop culture. The kind of focused reverence once afforded to Callas is a relic of a bygone era.
This makes Maria feel even more distant, almost like a glimpse into another dimension. If you’re thinking of introducing someone to opera by taking them to see this film, you’ll likely miss the mark. The film’s masterful use of operatic music—arias and all—will resonate deeply with those of us who already know opera and its specific works, characters. For others, while they may find the music beautiful, the deeper significance and stunning visual cues will likely be lost.
A Portrait of Pain and Addiction
One of the most unexpected aspects of the film was hearing the voice of an addict. We didn’t know much about how Maria Callas died, so this revelation was shocking. We paused the film to do some research, and our minds were blown. Hearing that voice throughout the film and watching Angelina Jolie’s portrayal of Callas bargaining with or dismissing her faithful maid and butler painfully resonated. These performances will likely earn Oscar nominations, as will the actor who externalizes Callas’ inner dialogue; this plot device is crucial for helping us understand what she’s experiencing—as an addict, as a woman, and as a superstar confronting her last days on earth.
It’s important to note that the film takes creative liberties, something viewers understand from the get-go; Maria delves deeply into art film territory while keeping viewers mostly anchored in reality. While deeply sad, it’s hard to stop thinking about. It was still on our minds this morning. The film uses flashbacks to explore Callas’ deep childhood trauma, mental health challenges, and later-life addictions. These struggles seem to have been compounded by an ego that perhaps prevented her from seeking the help she needed, or perhaps help that her fame and bad influences simply didn’t allow her to seek. The film left us questioning: Was she a terrible person? Or was she simply surrounded by terrible people? Both? Regardless, it’s heartbreaking to watch someone so uniquely talented unable to access the help, self-awareness, or humility they so desperately needed to save their health and life. Stay for the unforgettable scene (you’ll know it when you see it).
Final Thoughts and Alternative Recommendations
Maria is a film I recommend with caution. It’s not for everyone, but it’s a much better watch than something like Tár. But for those with a working knowledge of opera, it’s a transcendent experience—a testament to the artistry and pain that defined Maria Callas. Her ability to create such a lasting legacy despite her suffering is both awe-inspiring and difficult to witness. The film also beautifully captures the ethos of 1970s Paris, which acts as a co-star, driving the story in critical ways.
To end on a brighter note, here are two uplifting films set in Paris that you might enjoy this holiday season or in the new year:
Victor/Victoria — Starring Julie Andrews, this iconic 1982 film is not about opera but it’s a celebration of music and identity.
Diva — Directed by Jean-Jacques Beineix, this 1981 masterpiece is one of my all-time favorites. It’s about a reclusive American opera singer contemplating her first album when a postman bootlegs a rare performance, setting off a thrilling chain of events.
Happy holidays from Opera Innovation to you and yours. Much more to come in 2025!