Achille Brugnini, Alessandro Bertolucci, Anna Lelio

This fantasy involves the last few months in the life of opera star Maria Callas, who comes out of reclusive retirement to film 'Carmen,' only to confront painful memories of her past love affair with...( read more  read more... ) billionaire Aristotle Onassis and the fact that she can no longer pretend to have the voice she once had.

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59% liked it

1,400 ratings

Critics

41% liked it

58 critics

PG-13, 1 hr. 48 min.

Directed by: Franco Zeffirelli

Release Date: November 5, 2004

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DVD Release Date: June 21, 2005

Stats: 74 reviews

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Flixster Reviews (74)


  • February 24, 2008
    If it weren't for the OUT-OF-THIS-WORLD performance by the fantastic Fanny Ardant, this would be a pile of trash. It's a regular, old-fashioned movie that took a terrific subject (Maria Callas comeback) and totally wasted it. Fanny Ardant devours the role completely and creates m...( read more)agic on stage, on the studio and in front of the camera. Whenever she is monologuing or simply breathing in front of the camera, it's as if there was no movie at all: just Maria Callas.

    4 stars for Fanny Ardant's performance. Without her, it would be a 1 star movie. So I'll go with 3 and a half.
  • July 26, 2007
    Beautifully acted, intelligently written and criminally neglected by critics and distributors Callas Forever is a haunting and poignant study of the sacrifices an artist makes for her art.
    For some people the movie will prove somewhat unsatisfying, the more so if one focuses ex...( read more)clusively on Callas at the cost of ignoring other nuances and ideas, and the sheer pleasure of listening to the music and singing. But I recommand it to people who enjoy operas.
  • July 27, 2009
    just checked this out because of Callas being in the title. But I rather enjoyed it. Maria Callas sure dressed with style and poise in Chanel.
  • October 20, 2008
    I love this movie! Although I am not an opera fan, Fanny Ardant makes me love Maria Callas' work, her spirit, her legacy! The film is so beautiful, it makes you feel as though you're there!
  • August 8, 2008
    Born in New York in 1923 of Greek parents as Cecelia Sofia Anna Maria Kalogeropoulos, Callas made her true debut at the Athens Opera on July 4, 1941 as Tosca, going on to sing Santuzza and Leonora during the next three years. In 1945, Callas returned to New York where she was hea...( read more)rd by Zenatello who engaged her for La Gioconda in the Arena at Verona. This successful appearance under Serafin was the start of her real career, and she was soon in demand in Italian theatres for such heavy roles as Aida, Turandot, Isolde, Kundry and Brunnhilde. Her versatility was shown in Venice in 1949 when, only three days after singing Die Walkure's (The Valkyrie) Brunnhilde, Callas stepped in for an indisposed colleague in the florid bel canto role of Elvira in I puritani.

    Gradually, under the guidance of Serafin, she focused on the earlier Italian operas. Her repertory included Violetta, Gilda and Lucia, Rosina, Amina and Norma, Nabucco, Il trovatore, Don Carlos, Un ballo in maschera, I vespri sicilani, and memorable revivals of Haydn's Orfeo ed Euridice, Gluck's Alcese and Iphigenie in Tauride, Cherubini's Medee, Spontini's La vestale, Rossini's Armida and Il turco in Italia, Donizetti's Anna Bolena and Poliuto and Bellini's Il Pirata.

    Her greatest triumphs were won in Norma, Medee, Anna Bolena, Lucia di Lammermoor, La traviata and Tosca. Many of these roles she repeated in the major opera houses of the world, where her fame reached a level that recalled the days of Caruso and Chaliapin. Her debut at La Scala was in Aida in 1950; her first appearances in London (1952) Chicago (1954) and New York (1956) were in Norma.

    Maria finally made her debut at the Metropolitan Opera on October 28, 1956 as Norma in Bellini's Norma. Unfortunately for Maria, Time magazine had done an interview with Maria's mother, the woman Maria blamed for robbing her of her childhood. Maria had last seen her mother in Mexico in 1950 and had vowed that she would never meet or speak with her again (a promise she took with her to her death). The Time article portrayed Maria as an ungrateful daughter and the New York public reacted coldly when Maria's Met debut came. In fact, the legendary soprano Zinka Milanov received more applause when she took her seat than Maria did when she made her entrance. By the end of the final act, though, the New York public surrendered and Maria received 16 curtain calls.

    The next time Maria made headlines was when she was scheduled to sing in a gala performance of Norma at the Rome Opera House on January 2, 1958. The performance was to be attended by Italy's president, Giovanni Gronchi and his wife. Unfortunately, Maria had been seeing in the New Year by drinking champagne and staying out very late at a fashionable Rome nightclub. Maria, against the orders of her doctors, went on stage but her voice was in ruins. At the end of the first act, half the audience jeered while the other half sat in shocked silence. Maria escaped through a back exit, and an announcement had to be made that the performance simply could not go on.

    On September 3, 1959, Maria announced that she would be parting from her husband. She began a 9 year love affair with Aristotle Onassis. The couple was expected to marry but in the end, Aristotle married Jackie Kennedy, John F. Kennedy's widow, on October 20, 1968. His death on March 15, 1975, is considered to be one of the major factors behind Maria's death.

    Callas' dramatic powers aroused immediate excitement. There was authority in all that she did, and in every phrase that she uttered. Her voice was an impressive instrument with its penetrating, individual quality. During the 1960s, she withdrew gradually from the operatic stage and gave her final performance as Tosca at Covent Garden in 1965.

    In 1971-2 Maria Callas gave an extensive series of master classes mainly in New York and in 1973 and 1974 she emerged from a long period of retirement to make a concert tour with her former colleague, Giuseppe di Stefano.

    Maria Callas died in Paris in 1977 aged 53. She left behind many remarkable recordings of recitals and complete operas which remain as a testament to her artistic genius, and the epitome of the operatic soprano. For her admirers her performances remain definitive.

    Michelle Krisel, the artistic director of the Washington Opera, called her "the performer who changed the standard by which all opera singers are judged." Leonard Bernstein went further, describing Callas as "the greatest artist of the world." Italian musicologist Attila Csampai summed up her career, "During the ten years of her unquestioned reign, between 1949 and 1959, she bestowed upon the lost souls of the world -- disoriented and bewildered by the war -- more music, more art, more humanity and warmth than any other individual of this century."
  • May 22, 2008
    A fictional depiction of the aging opera diva who agrees to do a comeback. A beautiful, touching movie. Fanny Ardant is fantastic in the leading role.
  • October 24, 2007
    It does not show her life completly but it's pretty good movie for those sho know her , and her life...how ever i expect something else ...
  • September 23, 2007
    Fanny Ardant is great in the title role, Jeremy Irons and Joan Plowright offer exemplary support.

Critic Reviews


December 9, 2004
Colin Covert, The Minneapolis Star Tribune

Although the film will hold little appeal for non-opera buffs, its warmth trumps its clichés, odd casting and overacting. full review

November 29, 2004
Moira MacDonald, Seattle Times

A tribute to an artist that never approaches art. full review

November 28, 2004
Ty Burr, Boston Globe

On about five different levels, Callas Forever constitutes grave robbery. full review

November 26, 2004
Roger Ebert, Chicago Sun-Times

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. full review

November 24, 2004
Mick LaSalle, San Francisco Chronicle

Though campy at times, Callas Forever is a generous offering, full of flamboyant characters and grand performances. full review

View more Callas Forever reviews at RottenTomatoes.com

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