elshikh4 What is the meaning of writing all of those imaginary events to ascribe them to the legendary singer's last stage ?, did they want to say how the artist's life is just a truth in illusionary frame ? Or that any artiest has only one timed opportunity to be creative and after its end there will be no more ingenuity ??!!, or that love can destroy an artiest utterly (her love story with Onassis) ?, or that any attempt to ruminate the lost youth is impossible (the relationship between the agent and the painter, Callas and the young actor) ? Is it about how sincere (Callas) was when she refused to complete the hoax and demanded to terminate the movie within the movie ? So being that sincere to reality why rather they didn't terminate (Callas Forever) itself already ??? Well.. The real question which buzzes in my head all the time and maybe I'll sleep better if I find its answer is WHY did they make this whole absurd movie in the first place ???, what kind of possible concept could be expressed through this story which never happened ?! I have no idea ! All what I'm having is just tons of confusion and even more tons of disgust not only because of me being that ignorant, but also because of me being that patient to stand all of this antipathetic movie till it ended !! I didn't hate it because it's not understandable...I hate it because it doesn't want to be understandable, and I've always thought that when you finish watching a movie then give it a lot of thinking to discover totally nothing about its own meaning or its special message, so this is the definition of a "Bad" movie ! long story short : I'm sorry to whom reads right now because you'll find nothing more than questions, and I'm sorry that you've watched it too as it's not Callas Forever it's Silliness Forever !

canscene Three copies of Callas Forever turned up recently at Toronto's Queen Viceo and as a long time opera buff, I rented a copy as soon as I spotted it on the shelvesHorrified to learn of it shaving been almost totally ignored, I found this film a joy, with splendid performances by Ardant and Irons and asked myself why. . The universal theme of learning to accept ageing with grace far transcends the background-- just in case you loathe opera -- and the principals, who take up the majority of screen time, express two sides of the same coin with great performances.Franci Zeffirelli's loving direction of Callas Forever matches his imaginative concept and while we know that the incidents in the film never really took place the fact that they unfold so convincingly enable the director and his cast to drive home the theme of this fine film with such graceful impact. The final scene between Ardant and Irons is masterful and all the more moving because of its restraintLack of exposure certainly wasn't due to the fact that Iron s' portrayal of a gay impresario might have been considered inappropriate -- not in 2002!The obtuse Philistines responsible for booking and distributing films are once again at fault for debasing public taste. I wonder how may young and middle-aged people who will eventually see the film will turn to Maria Callas' recordings which fortunately are still available The rendition of Puccini's Vissi d'arte from Tosca mimed by Ardant to Callas' voice said everything about her character:" I lived for my art --- I lived for love"For my part, I've been able to locate Pasolinik's Medea, in which Callas makes her one and only appearance as an actress.As I write, I recall another fine film about opera: Istvan Szabo's Meeting Venus which I must see again as indeed I will return to Callas Forever.

amberbaer Franco - pure genius to bring this film to the world - his vision of her life, or at least, the latter part of it, is nothing short of brilliant. Fanny - Superb as Maria! The emulation, and respect she shows to Maira in her portrayal of her is spot on! From the hair, the makeup, the way she moves her body to sing like Maira (or at least pretend to sing like) is quite perfect. Opera is a hard thing to do to one's body, you not just project the voice, you use your body to project the voice and the emotion behind it...and when they show Fanny (as Maria) in the studio, you get this eerie sense that she is a woman possessed with the spirit of Maria! Bravo to you Fanny! Jeremy Irons - ever the consummate actor - the perfect gentleman and a joy to see as the fiery friend and confidant of Maria. The relationship on screen between Jeremy and Fanny is well-done. They make beautiful friends on screen and must have been a riot off-screen.Joan Plowright - Franco continues to use her in his films, and with little wonder - she's one of the best of the best mature women working in film today. She was the logical choice to play Aaunt Clara in the Bewitched movie, but no one saw the beauty of that role for her. But Franco gives us another view of this wonderful actress. She is a breath of fresh air each time she speaks. She is the grandmother that we all wish we had in our lives. Even her voice-over work makes you smile when you think of her name. Not many actresses today can say that about their work.Overall - a perfect movie that gives you a glimpse of what could have been had Maria agreed to it. The music, simply stunning. The soundtrack to the movie barely touches on the voice of an angel come down from heaven. The movie is passed well, directed with such love for the characters, and a pure joy from start to finish. It's a shame that American directors can't do this quality of a film in the states. One of the reasons why I love "foreign cinema" - I'm never disappointed when it comes to Franco's works....such a Maestro to his craft - Bravo

imxo As with any film that makes one think - and feel - I enjoyed this movie. It's unfortunate, though, that I only remember the real Callas from her press and not from her actual voice. As I recall, the critics of the day were not especially kind to her, and at the time I probably fell in with their opinion.The acting in this film is superb, and Fanny Ardant creates Callas as a very appealing woman, warts and all. What's amazing is her depiction of how such a headstrong woman can simultaneously have been so vulnerable.Various threads run through the film: nostalgia for the heady days of power and fame, the attempt to recapture one's youth (there's no fool like an old fool), the need for love, respect, even adulation. However, I detect a much simpler message: that Callas never got over her love for Onassis - someone barely mentioned in the film - and that Zefirelli in his way still loves Callas. How each of these people handle that love is the real theme of the film, the stuff of life's tragedy.