Angelina Jolie gives a commendable performance as Maria Callas in the film “Maria,” yet the movie itself falls short of truly honoring the opera icon’s legacy.

“Maria” (★★½ out of four; rated R; now streaming on Netflix) is the final installment in director Pablo Larraín’s trilogy exploring iconic women haunted by their pasts. Previous efforts, “Jackie” and “Spencer,” delved into more horrific dimensions of their stories. This installment, however, depicts Callas in her later years, reflecting on her life during a televised interview while grappling with her past roles and the fading memory of her once-great voice. The film leans heavily on style rather than depth, although Jolie (recently nominated for a Golden Globe for her role) gives it her all, both emotionally and vocally.

Set during the last week of the renowned American Greek soprano’s life in 1977, the narrative unfolds in her lavish Paris apartment, years after she has retired from the spotlight. At 53, Callas still embodies the diva persona, singing while her housekeeper Bruna (Alba Rohrwacher) busily prepares an omelet and instructing her butler Ferruccio (Pierfrancesco Favino) to rearrange a massive piano, disregarding his back pain.

Maria is depicted as a complex character, battling health problems and relying heavily on medication. She speaks of visions from her wealthy deceased lover, the “ugly and dead” Aristotle Onassis (Haluk Bilginer). At times, she exhibits her glorious persona as “La Callas,” while at other moments, she’s simply Maria. She oscillates between hiding from the world and seeking attention at restaurants where she can bask in recognition because “I’m in the mood for adulation.”

Despite having destroyed her old opera costumes, she still longs to reclaim her singing abilities, even if only for her own pleasure. “I don’t want to go just yet,” Callas conveys to her pianist, a statement imbued with profound meaning.

The film features a surreal quality, incorporating flashbacks in various visual styles, creating an almost dreamlike experience. It’s telling that the mundane TV journalist interviewing her, Mandrax (Kodi Smit-McPhee), shares a name with Callas’ primary medications.

Her opera history and public life are shown through different timelines, highlighting events such as her performing for Nazis in her youth and coolly rebuffing John F. Kennedy (Caspar Phillipson) when he asks about Onassis’s time with his wife. Yet, the film’s emotional core shines through in scenes where Bruna and Ferruccio offer support to Maria, despite her attempts to push them away.

The operatic performances are visually stunning, featuring impressive costumes and production design. However, one of the film’s main flaws is that Jolie learned to sing opera for this role, and with the magic of film, Larraín created audio tracks that blend her voice with the real Callas’ voice—resulting in mixed authenticity. Some of these musical moments come across as somewhat disingenuous, though the blend feels more effective during the rawest and most vulnerable moments of Maria’s singing.

Would selecting a professional opera singer have been a simpler and perhaps smarter choice? Undeniably, but Jolie’s devotion to portraying Callas is evident on screen.

Some of the film’s most compelling scenes arise when she responds to listening to her own music, like during one restaurant visit where she demands that the owner cease playing one of her tracks. “I cannot listen to my own records,” she furiously asserts. “Because it is perfect, and a song should never be perfect.”

Ultimately, “Maria” is filled with creative ambition but hits several sour notes. This biopic struggles to reach the heights of a Callas aria, even with Jolie’s outstanding performance providing some elevation.