As a cinema aficionado who has spent countless hours immersed in the magical world of celluloid, I must say that “Maria” is a cinematic masterpiece that truly resonated with me. The film’s ability to capture the essence of Maria Callas’ life, her triumphs on the stage, and her complex private life, was nothing short of breathtaking.
The renowned Greek-American opera artist Maria Callas is the focus of Chilean filmmaker Pablo Larrain’s latest production. Titled “Maria,” this movie features Angelina Jolie and delves into Callas’ life in its later stages, as she grapples with the twilight of her professional career.
The movie currently available on Netflix is structured with flashback scenes that depict various aspects of her career, such as performing at La Scala and other renowned opera houses worldwide, captivating millions, along with glimpses into her personal life, including stories about her being courted by the wealthy shipping magnate Aristotle Onassis.
Cinematographer Edward Lachman employed distinct types of film stock to distinguish the tale’s different aspects. Regular 35mm film was utilized for the primary storyline, 16mm film for the protagonist’s imaginative sequences, and black-and-white 35mm film for depicting her memories.
When speaking with EbMaster for Inside the Frame, Lachman articulated his preference for shooting on film. He likened film to oil paint and digital to watercolor, stating, “Since we are referencing time periods from the 1930s to the 1970s, it is crucial that we filmed on film to accurately portray the world she inhabited.
The scene where Callas meets Onassis for the first time takes place after one of her performances is a memory. “I call [this scene] a moving proscenium. We’re putting the audience in their seat at an opera watching and letting them reflect on what they’re looking at,” he says.
As a cinephile immersed in the world of Callas, I chose to step into her shoes and experience the story through her eyes. To achieve this, I delved into her environment, which in this case was a lively party setting. My aim was for viewers to resonate with her emotions, as I expressed, “I hope you can sense what she might have felt.
Lachman’s camera techniques were based on the concept that the film’s opera portrayed an intensified version of reality. He expressed, “It was designed to evoke emotions, as she also mentions in the movie, ‘Opera doesn’t need to be realistic; it’s about emotion.’ I aimed to achieve this heightened reality in the visual narrative, making viewers feel as if they were immersed in her world.
Lachman utilized an Arri 435 ES 3-perf camera for filming and employed lenses he had designed for Larrain’s monochrome vampire movie, “El Conde.” He notes, “The coatings provided a vintage atmosphere.” Furthermore, working with film offered a dimension to the visual that is absent in digital media, which often focuses on one plane. This depth can be subtle, but it creates a noticeable difference in the image’s overall depth.
This specific scene within the storyline was filmed inside a library located in Budapest, serving as the primary setting for most of the production. However, due to certain lighting constraints, Lachman explains he had to be selective about his placement options. “A large portion of the illumination often comes from practical sources,” he said. “There were candelabra lamps, which I increased from 15 watts to 40 watts, providing sufficient exposure for black and white shooting.” Lachman further added, “We utilized black and white negative film during the shoot, fortunately finding a lab in Budapest that still processes such films.
In specific locations, he hung up large white Chinese lanterns crafted from paper, allowing him to install more powerful light bulbs, thereby increasing the brightness level.
Lachman discovered that by wrapping the balls in black plastic, he was able to find a solution for the difficulty encountered when firing at white walls.
The movie primarily focused on Maria’s mind and emotions, and Angelina Jolie’s acting was instrumental in adding an enigmatic quality to the film. Lachman emphasized that he aimed to convey this mystery in every scene, stating, “Angelina played her role in a way that didn’t reveal all of her feelings about a situation.” He further explained, “You can see what she thinks and how she expresses herself, but you don’t necessarily hear it explicitly stated. I believe that’s the power of the performance and the editing technique used to build Maria’s inner world.
Watch the video above.
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2024-12-14 02:17