Pablo Larraín’s new film “Maria,” the third in his trilogy of grandes-dames bio-pics (following “Jackie” and “Spencer”), is the best of the three for a simple reason: its protagonist, Maria Callas, faces the most suspenseful conflict, the attempt to restart her singing career after a long absence from the stage. The other two films are mainly private stories that are centered on celebrities whose private lives contrast with their public identities. In “Spencer,” Princess […]
The Operatic Drama of “Maria” Misses Its Cue | The New Yorker
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