The enigmatic Maria Callas, the American-born Greek soprano hailed as “La Divina,” continues to fascinate decades after her death. Her tumultuous career and captivating glamour have inspired countless attempts to unravel the mystery of the woman behind the legend. Now, Angelina Jolie takes on the challenge in Pablo Larraín’s new biopic, *Maria*, a film that promises to peel back the layers of myth and reveal the complexities of Callas’s life.
Larraín, known for his insightful portrayals of iconic 20th-century women (as seen in *Jackie* and *Spencer*), masterfully uses costume design to tell Callas’s story. The film’s breathtaking costumes, ranging from her most iconic stage outfits to her intimate dressing gowns, are not mere adornments; they are crucial elements in portraying Callas’s multifaceted personality. The director explains, “I see fashion as a form of art, even unrelated to my work as a filmmaker. And in a film about Maria Callas—a true fashion icon—it was essential to do it justice.”
This meticulous attention to detail is evident in the work of Italian costume designer Massimo Cantini Parrini, who boasts one of Europe’s most extensive archives of historical clothing. He faced the monumental task of recreating over 60 outfits for Jolie, including the dress worn to John F. Kennedy’s birthday and her legendary costume for Medea at La Scala. The challenge was amplified by the limited photographic records from the final, poignant weeks of Callas’s life. The process, Cantini Parrini recalls, was “long and difficult,” demanding perfection and meticulous attention to detail. He describes the experience of dressing Jolie for these final scenes as “fun, being her last stylist,” employing swaddling coats, wide-brimmed hats, and a predominantly black palette to reflect Callas’s emotional state during this period of vulnerability.
Jolie herself connected deeply with the more understated garments. While acknowledging the magnificence of Callas’s stage costumes, she expressed a particular fondness for the hand-crocheted robe, stating, “Many of the opera looks were very special, but in truth it was the hand-crocheted robe that felt most like the Maria I came to love.” This preference underscores the film’s focus on Callas’s inner life and the contrast between her public and private selves.
The film’s exploration of Callas’s style also offers a fascinating reflection on the evolution of fashion. Cantini Parrini contrasts the way stars dress today—often in borrowed or custom-made pieces—with the approach of a diva like Callas, for whom clothing was a powerful form of self-expression: “What you wore back then represented you. It was your business card.” This resonates with Jolie, who comments, “From her and those periods in history, I was reminded of dressing, really dressing to go out in something fitting, but also personal to you.” This sentiment points to an unexpected connection between Callas’s era and contemporary fashion, as evidenced by Erdem’s Fall/Winter 2024 collection, which paid homage to Callas with a theatrical reinterpretation of her Medea wardrobe.
Ultimately, *Maria* strives to answer the enduring question: Who was the real Maria Callas? The film suggests that perhaps the answer lies not in a singular narrative but in the subtle details, in the garments that reveal the contrast between the public grandeur and personal vulnerability of this iconic artist. The movie opens in select theaters on November 27th and will stream on Netflix starting December 11th. The costumes alone make it a must-see cinematic event.
