Callas Forever (2002)

Zeffirelli and Ardant recreate Maria Callas with great success

Purists will probably cringe...let'em! FOREVER CALLAS is a wonderfully imaginative look at the final days of opera diva Maria Callas as formed from the "fantasy and relationship" (which is stated in the film credits),by her dear friend, Zeffirelli as only he could do.The real triumph of this film is the acting of the "Meryl Streep" of France, Fanny Ardent, who looks and acts the part of the diva in all of her faded glory at the age of 53.The original recordings of Callas in her prime are used in this recreation and it is a stunning tribute to the great star who was former lover to Aristotle Onassis before he dumped her to wed Jackie Kennedy.If you know the acting of Ardant(COLONEL CHABERT,ELIZABETH), then you will appreciate the fact that she as a Frenchwoman playing a Greek who speaks English with an Italian accent (that is quite an accomplishment!) and that her co stars are none other than legends Jeremy Irons and Joan Plowright as her agent and journalist respectively.This is a quick and sprightly look at the the world of the glory that was and explores the theme of trying to regain youth again.Excellent relaxing film viewing and the music is glorious! December 4, 2007

Callas as Both Person and Artist

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.


July 27, 2007

Lana

When I watched the movie in the movie theater originally few years ago, the sound was so perfect. The movie itself moved me so mainly because of the powerful sound. So, I purchased the DVD few years later because I could not forget the emotional effect this movie had on me. I was shocked to learn that the DVD sound track was awful. Somebody has to have absolutely no sense of music to make a DVD for production without checking the quality of the sound. For this movie it was a killer. I am so disappointed; I want to return this DVD. October 30, 2006

Ardant gives a "Master Class"

Fanny Ardant said that she wanted to do this role because the script gave her the opportunity to have every emotion, and then on top of that, she would be playinig Maria Callas (apparently she had played Callas onstage in "Master Class" before doing this film). She was right. The words "tour de force performance" are tossed around a lot, but this is what the phrase is about. Fanny Ardant proves herself to be one of the best film actresses around in this film. Ardant is simply magnificent.
Fellini's direction is at it's finest and tightest here. His love of the theatrical gets its rightful venting in the scenes of rehearsal, and of the film within the film; but there are no extraneous flights of fancy. To me, Jeremy Irons and Joan Plowright are usually very much the same in every film, but they are greats, and they provide a perfect platform for Ardant to dive off of.
I recently saw the disappointing "Being Julia" in which Jeremy Irons also appears. Everything that film lacks, is here in this perfect, truly loving (warts and all) tribute to an immortal great. You do not have to like Opera to appreciate this film, and if you don't it is handled here in a way that will keep you engaged. If you do have an appreciation for Opera, and for great acting...you will have moments- as I did- of chills, and tears. Much more than being a tribute to Opera, this is an excellent tribute to the arts and to artists. Brava
October 23, 2006

Divine Diva to the End

I am not a professional movie critic who must judge a movie for its Oscar capabilities or its position in the world of cinema. I am not an opera "expert" who feels that tampering with a classical masterpiece (such as Carmen) is an abomination. Nor am I seeking revenge against any of the following: Franco Zefferelli, Jeremy Irons, Fanny Ardant, or Maria Callas.

I am one who loves movies, all kinds of movies, with my favorites being manner comedies in sumptuous settings. CALLAS FOREVER is part bio-picture, part comedy of manner, and part masterpiece. All I ever expect a movie to do is to entertain me. I dabble in Opera. I have the 1962 Callas Carmen CD with Nicolai Gedda as Don Jose and the Orchestre du Theatre National de L'Opera de Paris conducted by Georges Pretre, which is the music in the movie. Although not an opera snob, I find this CD particularly enjoyable as it is Callas at her peak. The way Zefferelli used this opera version illuminates the opera book, the characters, and THE music, for those who may want to purchase a copy of the recording. There are many versions of Carmen for sale on CD, but this must be the best.

Zefferelli set out as a business associate and close personal friend of Callas to show her the way that she was in her final days. He completely accomplished this by the film CALLAS FOREVER. Although, the plot is part fictional, it is a suitable vehicle to accomplish its task. It is Fanny Ardant that brings the entire production to fruition. He says repeatedly during interviews that "she is more Callas than was Callas." That is reason enough for me to accept this film from both an intellectual/artistic one and an emotional one, as Fanny Ardant made me feel that I have known Callas way more personally that by just merely listening to her sing on record or reading something. Ardant is absolutely amazing in this role.

Moreover, the gay subplot and the drama centered around artistic integrity are what makes this film real to me and not just a bio-pic.

I will continue to read the other critics, but I will always follow my heart.
August 2, 2006

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