Movie Reviews for Callas Forever

Callas Forever

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Movie Reviews of Callas Forever

Movie Review: Callas as Both Person and Artist
Summary: 4 Stars

I am going to begin with a disclaimer. While I am an avid opera lover, I am not a Maria Callas fanatic. I'm not a Callas hater either. Those who love and loathe Maria Callas know every intimate detail of her life, both on and off the stage, have memorized her recorded legacy, both the official releases and the pirated recordings, and live, breath and die all things Maria Callas. I admire and appreciate her voice, and will admit there are some roles that Callas could do as no one else could, but I would say I have more of a fondness for her than anything else. I say this because as I've heard and read some of the reviews of the film, both on Amazon and in print, Callas lovers seem to have strong opinions of it: they're in love with every aspect of it, or pan it entirely.

The film takes place in the 1970's and Maria Callas (played by Fanny Ardant) has become a recluse. The events of her life are well known. In her pursuit of and failure to capture the love of Aristotle Onasis, a love that seemed at times to be cruelly unrequited, Callas' voice has deteriorated and even though she still could have performed based on persona alone, she hides away in a Paris apartment. Her manager Tom Kelly (Jeremy Irons) hates his new role as an agent for a punk rock band known as "Bad Dreams" and hopes to convince Callas, whom he once represented, to star in a film version of CARMEN. Well aware that her voice would be inadequate, he tries to convince her to do the equivalent of lip syncing. Callas' temperament gets in the way of anything happening, but at the convincing of reporter Sarah, a friend to Callas and Kelly, (played by Joan Plowright), Kelly works to get Callas to do the film version of an opera she recorded, but never performed on stage.

The film is based on some facts as well as some creative "what if's" by director and friend Franco Zeffirelli. Any film or stage production under Zeffirelli's direction is lavish down to the minutest details, and CALLAS FOREVER is no exception. Fanny Ardant has Callas' mannerisms, voice, and quirky ways mastered to perfection. She captures Callas' intensity when performing the operatic roles, whether it be the staging of the film version CARMEN or when she recreates the roles in her imagination. Ardant's portrayal of Callas is that of an artist as well as a famous personality. Jeremy Irons is good as Tom Kelly, portraying him as ruthless but also concerned about his former star. Joan Plowright`s portrayal of the fictional character Sarah was stellar. It's her empathy for Callas that motivates Kelly and her determination keeps Callas from becoming a total recluse. Some have commented that the Tom Kelly character and Sarah are actually two versions of Zeffirelli. Zeffirelli was one of Maria Callas' loyalist friends and did try to get her to star in film version of her operas well after she left the stage.

When the film concentrated on opera and the person of Callas, it was at its best. Kelly's pursuit of love and his punk rock band seemed to distract. More scenes of Callas recalling her stage triumphs would have been far better, at least for me. Still, it's a great story and any opera lover, Callas aficionado or not, should enjoy it.

Movie Review: Brava Diva !!!
Summary: 4 Stars

... generally, I very much-agree with the reviews already posted; I agree that this film springs-alive whenever Fanny Ardant is on-screen, and that Jeremy Irons' performance is disappointing... his storyline is actually fine, but the performance, by this very distinguished actor, whom I shall always remember as "Charles Ryder", does not do-credit to his body-of-work, over all.

I'd like to add one new thought, however...

Being of a certain age, and a lifelong opera-devotee, I remember, with great sadness, the passing of this great star and artiste. I was well-acquainted with the sadness of her personal life and the torture brought-on by the decline of her career. As her career began its decline, but while still concertizing, she is reported to have said of her dissatisfied (her belief)audience(s): " I can hear them out-there in the dark, writhing in their seats, hissing like serpents" ... "the voice will no longer obey" . If, in fact, she did say this, it is not difficult to understand her eventual shutting-away of herself, far from those who no longer believed in her talent (again, her belief).

I was always so sad to believe that her final days were lonely, unhappy and broken-hearted (Onassis), and believing herself to be bereft of her once-great voice and career. Without stating "like" or "dislike", I shall say that I am very "glad" for this film, as it allows me to see those final days in a very different way. This film affords us a vision of la- Callas as a woman who has reclaimed her grace and wisdom, allowing herself to accept who she is.. at that time... allowing the past to remain in the past... as a beautiful memory, and remaining faithful to the core of her great artistry: her honesty. I think the final scene "on the park bench" is very telling, as it discloses that sentiment we all must and should face... in the end: it's not about what our achievement has conferred upon us, what's really important is the acceptance of our being, simply, a man... a woman. As a parallel, it's easy to recall that wonderful monologue, in the stalled car, in AllAboutEve, when the great Bette Davis sums-it-up: "in the end, every woman must accept that, whatever else she may have done... or may have achieved in her professional life, she is, simply... and remains simply... when its all-over...a woman.

There is great beauty in the grace of acceptance, acceptance without remorse or rancor... and in the end, I hope as much for myself. This movie allows us to see the Callas I prefer to keep as my memory of her final days... AND shall be able to keep as memory: such is the power of the cinematic experience. For that, I say that I am "glad" for this film, and...

Brava Diva

Movie Review: Brava Ardant!
Summary: 4 Stars

Fanny Ardant's resplendent performance and the passion of Maria Callas' voice are the jewels in this otherwise flawed film. Ardant's physical similarity to Callas is astounding, but more than that, she has captured her gestures, her intensity, and the regal presence that made her an operatic goddess with no equal. The fantasy plot is a wonderful one...an empresario (Larry Kelly, played by Jeremy Irons), has the idea to make a film that is a combination of Callas as she is, melded to the voice she had in recordings 2 decades earlier. Selling this idea to Callas is not easy, as she is in mourning for her lost voice, and her lost love, Ari Onassis. The film takes place in 1977, the year Callas left us for the big Opera House in the sky.

When Ardant is on the screen, this is a brilliant film, when she is not, it falls apart. The sub-plot of Larry's here today and gone tomorrow affair with Michael (Jay Rodan) causes the film to lose focus, and it is diminished and muddied by it. The operatic portions however are a total delight, with Ardant/Callas filming the opera she recorded but never performed, Bizet's "Carmen." As her Don José, Italian actor Gabriel Garko is excellent. Director/writer Franco Zeffirelli knew Callas well, and knows opera (he was doing opera sets as far back as the early 1960s) equally well. This film is a testament to their great friendship, and though I don't think this film will appeal to a wide audience, opera fans, and especially Callas admirers, will love it.

A marvelous bit of casting is Joan Plowright as Sarah, a journalist and friend of the fabulous diva. She is a superb character actress, and perfect for this witty role. Justino Diaz is seen briefly as Scarpia in "Tosca", and Chanel, the couturier who dressed Callas, made the gorgeous outfits for Ardant. Some of the music selections heard as well as "Carmen" and "Tosca" are: Bellini, "Casta Diva" ("Norma"), Puccini, "Donna non vidi mai" ("Manon Lascaut"), "Un bel di vedremo" ("Madama Butterfly"), "O mio bambino caro" ("Gianni Schicchi"), and Verdi, "Libiamo ne lieti calici" ("La Traviata"). The cinematography by Ennio Guarnieri of Paris is lovely, and total running time is 108 minutes. DVD extras include interviews and a "Behind the Scenes Featurette."

Movie Review: Oh My...What a Performance!
Summary: 4 Stars

Very rarely, but it does happen, an actor or actress recreates a historical personality to the letter. This requires far, far more than just a physical resemblance; it requires an actor's genius. Some fine examples: Albert Finney as Winston Churchill in "The Gathering Storm." Or David Straithern as Edward R. Murrow in "Good Night and Good Luck." Or Marion Cotillard as Edith Piaf in "La Vie en Rose. " Even Meryl Streep as Julia Child in "Julie and Julia." Now, Fanny Ardant recreates Maria Callas. Put bluntly, she is simply sensational. Any one who has ever seen Callas perform will be amazed at how perfectly Fanny Ardant captures the essence, the fire, the movements, and the "great gaze" of the opera star. Even in the close ups, it seems so.

The film is not a biopic but a love letter to Callas...imagining what might have happened if (at the end of her career) Callas had allowed her talent to be displayed on screen. And Fanny Ardant, as Maria Callas, and as Carmen, shows how alluring an older woman can be...even as a gypsy seductress.

The performances of Jeremy Irons and Joan Plowright are competent enough but let there be no doubt, this film belongs to Fanny Ardant. As Maria Callas she makes an eloquent statement about "integrity", about "truth" in artistic expression.

For those interested in cinema history, Maria Callas does appear as an actress in film - but just once - in a version of the ancient tragedy "Medea." True, she does not sing in the picture, but Callas does display extraordinary presence as "a woman of consequence," a woman not to be trifled with at any level. In fact the shoots of Callas' face and the exceptionally interesting landscapes and strange buildings are the reasons to see the film.

See "Medea" and "Callas Forever" together and compare the performances.