As a seasoned film critic with a penchant for biopics, I must say that Angelina Jolie’s transformation into Maria Callas in “Maria” is nothing short of breathtaking. The meticulous work of Adruitha Lee and Pamela Goldammer to recreate the iconic opera superstar’s look has left me speechless.
In the movie “Maria” directed by Pablo Larraín, Angelina Jolie is skillfully metamorphosed into opera sensation Maria Callas by the talented hands of her personal makeup and styling team, Adruitha Lee and Pamela Goldammer, who have both previously won Oscars.
In their efforts to capture the essence of Callas, Lee and Goldammer carefully determined the unique appearance that encapsulated her character. According to Jolie, understanding Callas required a comprehensive view of her, as well as observing how she was evolving in this portrayal.
In every instance, Callas sported makeup flawlessly and kept her hair impeccably styled. Among the wealth of images at hand, one photograph stood out to Jolie, capturing a candid moment of Callas slouched over. “You can tell it’s her by the glasses, her unkempt hair, and the relaxed, caught-off-guard expression she has.
The substantial spectacles Callas donned were intriguing to Jolie as well, and she commented, “They indeed spoke volumes about her.
Lee often gathered images around her as she pondered hair styling options, and she took particular note of the natural waves that graced Callas’ appearance.
To achieve a natural-looking hairstyle similar to Jolie’s, Lee experimented with various techniques. The conventional methods like curling irons and flat irons, as well as rollers, didn’t yield the desired results. However, she discovered an unconventional yet effective solution. “I crafted rollers from paper towels, rolled them up during the nighttime hours, and left them in place,” Lee disclosed. “The following day, we removed them to reveal the curls – a natural look that I felt mirrored what her hair naturally appeared to be.
Jolie and Lee talked about Callas’ hair color. According to Lee, “She dyed her hair up to a certain extent, but then she stopped dyeing it.” Lee would alter the wig colors to match the various stages of the story. At one point, Lee even added more gray strands to the wig, and it looked lovely.
Goldammer aimed to ensure that Jolie’s makeup wouldn’t draw attention away. The most difficult aspect for him was handling the various makeup adjustments and transitions during the course of the day.
The movie encompassed significant operatic performances and personal instances of Callas, and at times, Goldammer was required to construct as many as seven distinct outfits in a single day. As he explains, “We were constantly transitioning between different eras, stage attire, glamorous garments, and opera costumes.
However, achieving those distinctive looks wasn’t just a matter of making them; Jolie wore a custom-made prosthetic nose designed by the talented makeup artist Arjen Tuiten. Notably, he was nominated for an Oscar due to his work with her on “Maleficent: Mistress of Evil.” According to Goldammer, the challenge lay in applying this prosthetic nose within 17 minutes and completing her regular beauty makeup within 30 minutes.
The grayscale scenes showing Callas’s encounter with Greek businessman Aristotle Onassis in the film required unique problem-solving. Finding the right makeup hues to capture the desired shades of gray on-screen involved multiple camera trials.
She explains that they evaluated around 20 to 30 lipstick options, focusing on particular hues, but she recalls sketching approximately 50 distinct shades and reproducing them in black and white to observe the impact. Generally speaking, their selections leaned towards colors prevalent during that era.
In the identical sequences, Lee needed to alter the colors to create a more authentic appearance for Callas’ hair texture. He didn’t want it to appear uniform, so he used various shades in the wig, making it seem like a single color, but in reality, it wasn’t. This is what Lee explained.
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2024-12-18 21:18