Callas Forever (2002) 720p YIFY Movie

Callas Forever (2002)

In 1977, Maria Callas (Fanny Ardant), the most famous diva in the world, lives confined in her Paris apartment. Larry Kelly (Jeremy Irons), a producer friend, offers her to sing "Carmen" in a televised concert. Unfortunately, Maria's voice, tired and worn by years and strain, is not what it used to be. Larry knows the way around the problem: a technical stratagem will create the illusion. Maria, disregarding her friend Sarah Keller's (Dame Joan Plowright's) warning, agrees with the idea and the show is a tremendous success. With that in mind, Larry now considers a new version of "Tosca". But this time, Maria objects to the subterfuge. Her decision will mark the beginning of the end for the legendary singer.

IMDB: 6.41 Likes

  • Genre: Biography | Drama
  • Quality: 720p
  • Size: 999.69M
  • Resolution: 1280*720 / 24 fpsfps
  • Language: English 2.0  
  • Run Time: 108
  • IMDB Rating: 6.4/10 
  • MPR: PG-13
  • Peers/Seeds: 0 / 0

The Synopsis for Callas Forever (2002) 720p

In 1977, Maria Callas (Fanny Ardant), the most famous diva in the world, lives confined in her Paris apartment. Larry Kelly (Jeremy Irons), a producer friend, offers her to sing "Carmen" in a televised concert. Unfortunately, Maria's voice, tired and worn by years and strain, is not what it used to be. Larry knows the way around the problem: a technical stratagem will create the illusion. Maria, disregarding her friend Sarah Keller's (Dame Joan Plowright's) warning, agrees with the idea and the show is a tremendous success. With that in mind, Larry now considers a new version of "Tosca". But this time, Maria objects to the subterfuge. Her decision will mark the beginning of the end for the legendary singer.


The Director and Players for Callas Forever (2002) 720p

[Director]Franco Zeffirelli
[Role:]Jeremy Irons
[Role:]Fanny Ardant
[Role:]Joan Plowright


The Reviews for Callas Forever (2002) 720p


Diva Fantasy Salvaged by Real Opera Production and an Inspired ArdantReviewed byEUyeshimaVote: 7/10

Gallic actress Fanny Ardant is an inspired choice to play Maria Callas, and with her uncanny physical and likely temperamental resemblance, she plays the legendary soprano with real brio and scenery-chewing style. I would not have expected anything less in such a fanciful telling of a what-if scenario that sprouted out of director Franco Zeffirelli's fertile imagination. Zeffirelli is no stranger to the extravagant and visually resplendent as he helmed the Burtons-at-play 1967 "The Taming of the Shrew" and the much-beloved, age-appropriate 1968 version of "Romeo and Juliet". His long-time professional relationship with Callas provides the basis for this fantasy where in 1977, she is drawn out of self-imposed exile and into the limelight one last time by a fictitious concert promoter, Larry Kelly, who had long ago decided to forego opera for the more lucrative world of punk rock. Sporting a silly ponytail, Jeremy Irons portrays Kelly as a predictably irascible character who mercurially worships and degrades her as the circumstance dictates, a variation on the character he would play in "Being Julia". This time, his character is gay, of course, probably to avoid any element of romance that would detract from Callas' obsession with preserving her legacy.

Kelly's idea is to film her while acting out famous operatic roles on a sound stage and lip-synching the words, whereupon sound engineers would graft her recordings of some 22 years earlier onto the sound track. The series is to be called "Callas Forever" and starts with Bizet's "Carmen". After a rapid series of contrived scenes that resuscitate Callas from her Paris apartment seclusion back to international press attention, the film finally catches fire with the scenes that create the opera production itself. This is where Zeffirelli really shines as he makes Ardant look and act strikingly like Callas at her most passionate and charismatic. She is, of course, adored by her colleagues (in particular, an admiring young tenor playing Don Jose, as embodied by Gabriel Garko) and seems on the brink of a renaissance. Alas, it is the completion of this production that inspires Zeffirelli, along with co-writer Martin Sherman, to take the plot to the height of soap opera banality. Basking in her newly reborn confidence, Callas wants to take on Puccini's "Tosca" with her real voice, an idea supported blindly by Kelly but rejected by her backers. Instead of being crushed, she seems resigned to her legacy and insists that her "Carmen" be destroyed as she deems it a fraud.

That she comes to this realization after the fact is one of the central conceits of the film since it implies she has been cavalier about the efforts around her who did believe in her, but I suppose that is what diva behavior is all about. After all, at the beginning, Callas is portrayed as a pill-popper who feels sorry for herself as a has-been, her voice shot during an infamous tour in Japan, and as the rejected paramour of Aristotle Onassis, who cast her aside to marry Jackie Kennedy. Throughout the movie, she is haunted by her former voice with ghostly visions of her stage triumphs. These kinds of excesses seem appropriate to this kind of tribute film, but it all feels so predictably over-the-top. Sadly, Joan Plowright stereotypically plays a music journalist as a wisecracking, truth-bearing confidante that Thelma Ritter would have played with greater aplomb in the fifties. There is a persistent clunkiness to Zeffirelli and Sherman's screenplay and an overall lack of subtlety that can only be blamed on Zeffirelli's heavily ornate, Baroque film-making style. The DVD is short on extras as there is no audio commentary track, but it does include a brief making-of featurette, additional interview excerpts with Zeffirelli and the principal players and several trailers including the one for the movie.

A musical fantasy about Maria Callas and ZefferelliReviewed byblanche-2Vote: 8/10

Fanny Ardant plays the great diva Maria Callas in "Callas Forever," a 2002 film directed and co-written by her friend, Franco Zeffirelli. In the film, the "Zeffirelli" character, Larry Kelly (Jeremy Irons) has an idea for adding to Callas' body of work. He wants to film her in the various opera roles she played, only instead of using her present voice, which seems ruined, he will dub her with her old recordings. The first opera is to be "Carmen." Now to convince Callas, who has isolated herself in her apartment since a disastrous concert tour and the death of Aristotle Onassis and will see no one. But Larry persists and finally gets her to agree.

This is not a biography or a character study but more a fantasy - the first fantasy being that Callas would have admitted anyone into her apartment in the first place. "Callas Forever" is more a "what might have been" if, at the end of her life, Callas had been able to come out of herself and explore her great artistry once again. The movie is beautifully produced and filled with Callas' most glorious singing, as well as a re-enactment of the scene where Tosca kills Scarpia in "Tosca." Fanny Ardant does a fantastic job as Callas. Her features are softer, but she has the mannerisms, the personality and the clothes that would make anyone who just saw a photo of her realize she was playing Callas. Ardant plays her as the sad, still temperamental diva who, completely alone, is asking herself what her life was all about, and were any of her goals worth it. She is a woman who felt, in fact, older than her years as she grieved for the man he loved and his betrayal of her.

Though the story Zeffirelli tells is not a true one, some of the emotions are certainly correct. Callas was completely devastated when Onassis left her - and he left her with nothing, not even friendship. Having the emotional maturity of a 12-year old due to her mother favoring her sister, growing up fat, etc., she allowed Aristotle to call all the shots and use her, breaking her both emotionally and spiritually. When he realized he had made a mistake by marrying Jackie, he came back to Maria - and she took him back. (They used to call Jackie "the widow.") She once poured out her heart to writer John Ardoin on tape, and it is probably the most pathetic transcript ever. To compensate, she tried to sing again, but she'd lost both her nerve and her voice. It's doubtful that her voice was gone. Callas had always had vocal problems, and as singers age, they lose some of their top notes. If she had been able to trust someone to realign her voice, she could have done well in a different repertoire such as Carmen and Eboli, even if she had just recorded them.

Maria Callas was a beautiful, gifted woman who thought that a career would give her the love she never received as a child - and it didn't. If you've ever seen the photo of her taking her bow as Norma and looking over at Aristotle in the box, she's absolutely radiant, she's on top of the world. She's in love and enjoying her life for the first time. It breaks your heart because that time in her life, like "Callas Forever," was only a fantasy.

Ardant at her bestReviewed bytrlrtraxVote: 10/10

This is one of those gems which often are overlooked for years. I hope that is not the case with this truly outstanding effort. Fanny Ardant gives a reading on Maria Callas that is nothing less than superb. This should have gotten her nominations at every festival and showbiz awards group. The fire and passion in her eyes, the ability to have even the slightest facial change reflect fleeting passion and torture in her soul in full - and I mean FULL - closeup. This director has a quirk in his style, in that he often glosses over things we wish to know, but in this case that does not hurt the film. The friendship between Fanny and Jeremy Irons (also at his finest) is fully realized, warts and all, and Irons' romantic gay relationship is treated as real and honest, not just some "we're here and we're queer" in-your-face political statement.

The music is brilliant, Callas' voice never sounded better. The lip-synch near perfect. The sound has been enhanced and re-recorded in a fabulous way. AND THE WARDROBE. Chanel, Chanel, Chanel, and Fanny Ardant wears it like she was born wearing Chanel.

Joan Plowright turns in another wonderful character and the look and feel of this film is terrific.

Do NOT miss this film if you love opera, Callas, Ardant, Irons, or just plain good filmmaking.

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