How Opera Moved Angelina Jolie and Pablo Larraín to Create ‘Maria’

Angelina Jolie and Pablo Larraín had long been eager to collaborate when “Maria” finally provided the opportunity. Larraín, who had Jolie in mind for the role from the start, managed to capture her interest even before scriptwriting began. The film, the third installment in Larraín’s Great Woman trilogy following “Jackie” and “Spencer,” made a significant impact at the Venice and Telluride festivals with solid reviews. This could potentially position Jolie, who previously won an Oscar for Best Supporting Actress in “Girl, Interrupted” and the honorary Jean Hersholt award, as a contender for Best Actress.

In “Maria,” Jolie portrays the Greek opera diva Maria Callas during the last days of her life in 1977 Paris. At this time, Callas was losing her voice and heavily medicated, leading to hallucinations. The plot revolves around Callas wandering through Paris in luxurious outfits, conversing with an imaginary journalist, Mandrax, played by Kodi Smit-McPhee, about her past. These interactions are presented through black-and-white flashbacks.

The film begins with a close-up of Callas singing “Ave Maria” from Verdi’s opera “Otello.” One of the striking aspects of the production was the extensive preparation both Jolie and Larraín underwent to create an operatic film in both sound and vision.

Jolie describes the script as something she fell in love with after she and Larraín discussed the character in depth. She explains that Callas’s pain was not just unhappiness but a deep connection to life’s tragic and profound emotions. The intensity of these emotions was vividly captured in the film, particularly in the close-up scenes paired with Callas’s music, which, according to Larraín, added a powerful, almost transcendental layer to the visual presentation.

Jolie, detesting that she wasn’t initially well-versed in opera, attributes her newfound appreciation and transformation to this role. She hopes that audiences will also experience a similar discovery and emotional connection with the music and story.

One of the key challenges they faced was Jolie’s on-screen opera performance. Larraín decided to commence with a bold scene where Jolie sings “Ave Maria.” Despite having six months of preparation, Jolie admitted to being incredibly nervous on the day of filming. Larraín, who often operated the camera himself for more intimate scenes, described the process and how it allowed for a deeper connection with Jolie’s performance. The film was shot on 35mm, and the production involved meticulous attention to detail, including working with trainers on posture, breathing, and pitch to achieve a realistic depiction of opera singing.

Another notable aspect of the production was the collaboration with John Warhurst, an engineer and musician known for his innovative approach to capturing sound for films. Jolie had to wear an earpiece while singing on set, capturing her vocal nuances and breathing to blend with original Callas recordings. This technique created a seamless merge of Jolie’s and Callas’s voices, highlighting Callas’s deteriorating vocal ability in the narrative.

The film’s costumes, designed by Massimo Cantini Parrini, played a significant role in Jolie’s transformation into Callas. Jolie expressed her love for these costumes, especially the everyday robe which anchored the character in the present.

Callas’s history, including her complex relationship with drugs and the portrayal of her tumultuous past, was delicately handled in the script by Steven Knight and Larraín. The character of Mandrax allowed Callas to relive and discuss her memories, triggered by her drug use and emotional state.

Larraín blends fact and ambiguity to portray Callas’s experiences in Greece under occupation and her controversial interactions with Nazi soldiers. He drew from various biographies to present a nuanced depiction of her past without asserting definitive conclusions.

“Maria” marks what could be the final film in Larraín’s trilogy about monumental women of the 20th century, though he admits that nothing is ever truly final. The film subtly references historical figures like President Kennedy, Aristotle Onassis, and Jackie Kennedy, enriching its narrative tapestry.

The film “Maria” concluded its debut at the Venice Film Festival and Telluride, and is scheduled for streaming on Netflix later this year.

Source: Particlenews