For Callas fans, this is a winner. For others, it should at least be interesting.
Callas Forever (2004)
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Reviews Counted:21
Fresh:8
Rotten:13
Average Rating:5.5/10
Theatrical Release:Nov 5, 2004 Limited
Box Office: $305,060
Synopsis: At the beginning of this engrossing story, Larry Kelly (the delectable Jeremy Irons) has become a manager of rock bands – much easier to handle, he asserts, than a temperamental opera star. ... At the beginning of this engrossing story, Larry Kelly (the delectable Jeremy Irons) has become a manager of rock bands – much easier to handle, he asserts, than a temperamental opera star. Managing Maria Callas's late career has left him scorched by the star's brilliant fire. Visiting her palatial Paris apartment, Kelly is shocked to find a broken and reclusive Callas, humiliated by the deterioration of her voice. Determined to re-ignite her passion and restore her legacy, he convinces her to take on an important project: a film of the opera Carmen, in which she will lip-sync her own, glorious recording of many years previous. Thus begins a reawakening of their former relationship, mixing creative passion, genius, and drive in an incendiary cocktail. The stars are ably supported by a feisty Joan Plowright as their mutually supportive journalist friend, newcomer Jay Rodan as Larry's handsome artist boyfriend, and a wonderfully steamy performance from sexy Gabriel Garko as the tenor who worships Callas and yearns for his own opportunity for greatness. The special relationship between Callas (a luminous Fanny Ardant, reprising her stage portrayal) and her former manager forms the heart of this compelling fictional imagining of the diva's swan song, written and directed by the late Callas's friend and colleague, Franco Zeffirelli (ROMEO AND JULIET), in a worthy tribute to his legendary friend. -- © Regent Releasing [More]
Starring: Fanny Ardant, Jeremy Irons, Joan Plowright, Jay Rodan
Starring: Fanny Ardant, Jeremy Irons, Joan Plowright, Jay Rodan, Justino Diaz, Stephen Billington
Director: Franco Zeffirelli
Director: Franco Zeffirelli
Screenwriter: Franco Zeffirelli
Story: Martin Sherman
Producer: Riccardo Tozzi
Studio: Regent Releasing
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Release:
Jun 21, 2005
Reviews for Callas Forever
The film's portrait of the singer is indelible. The story as a whole, however, doesn't hold together, primarily because the imaginary characters and situations that surround her are so inadequately sketched.
For all the devotion Zeffirelli professes to Callas' legacy, the script reduces her to a cartoon.
Although the film will hold little appeal for non-opera buffs, its warmth trumps its clichés, odd casting and overacting.
Goes far deeper into one man's opera-diva fetish than most people will want to follow.
It's a small-scale premise for a movie and, given its wooden, dubbed dialogue (a supreme irony), it's an experience purely for Callas fans.
On about five different levels, Callas Forever constitutes grave robbery.
By aspiring no higher than campy adulation, it ill serves the memory of the most storied opera diva of the last century.
Most of the budget seems to have gone to the moments of Carmen that we see; they look sumptuous and robust, and the surrounding film looks, well, like a low-budget art movie.
Though campy at times, Callas Forever is a generous offering, full of flamboyant characters and grand performances.
This fictional 'what if' scenario is a bit campy and stagey, like a session of Opera 101.
A lip-synching hall of mirrors, it is essentially a piece of highbrow karaoke.
The result is not only one of Zeffirelli's sumptuous productions but also a film that celebrates the sacredness of artistic integrity that to Zeffirelli Callas embodied fully.
You will go away devastated and raving about the great French actress Fanny Ardant as Callas. It's a titanic performance that redefines the term 'tour de force.'
Upscale auds will enjoy the film's affectionate portrait of the diva, coupled with a selection of her great recordings and Zeffirelli's dazzling, fictional stagings of Carmen.
Sadly, this camp drama, a eulogy by one of Callas's closest friends, pales in comparison to the four minutes of 'La Mamma Morta' in Philadelphia.
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