“Work while you have the light. You are responsible for the talent that has been entrusted to you.” - Henri-Frédéric Amiel
Imagine having a wonderful talent, a divine gift that makes you special, makes you shine, a wonderful ability, which elevates you to the heights of glory. Imagine becoming rich and famous, enjoying the adulation of millions. Imagine then suddenly, at the height of your success, losing that talent and having to live day to day with the knowledge that you were once capable of true greatness but it exists now only in your memories and in the records of your success that immortalise you but at the same time torment you…
Such is the subject of the film we watched at the weekend, Franco Zeffirelli’s “Callas Forever” (2002) with Fanny Ardant and Jeremy Irons. The film examines the final few years of Maria Callas’ life in a highly fictionalized account, which nevertheless is appealing and gives Ardant a magnificent opportunity to pull all stops out in order to bring to life the talent of Callas. She is ably supported by Jeremy Irons and their performances feed off one another in a very sensitively portrayed duet that brings to life the “difficult” relationships that Maria Callas had in her professional life.
The film looks at Callas’ last years when she was living in her Paris apartment as a recluse, knowing full well that she had lost her voice. Her ex-manager visits her and convinces her to make a comeback through the magic of technology. He proposes that Callas act in a movie version of “Carmen”, an opera she recorded, but which she never played on stage. They will use the excellent recording from the 60s and she will mime through the action and during the playback. Callas has qualms, but she is convinced and the film is made, a successful project in every way.
Just as the film is ready to be released, thus signaling Callas’ return to the public, the great diva begins to grapple with her conscience. She regards this technologically assisted production a fake and she cannot allow herself to be a party to this fraud. Instead she wishes to make a film of “Tosca”, but this time she will sing the role anew. The producers back down…
This is a well-produced film, with great performances and the voice of the diva used throughout. There is a chance to see Carmen as it may have been acted and sung by Callas and Fanny Ardant manages to complete the illusion. Recommended for al opera buffs, but also for anyone who may enjoy a good story full of emotion and spectacle.
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