by Bruce E. Parry
Quartet is a really moving, deeply emotional British film that explores relationships in older age. It is Dustin Hoffman’s recent directoral debut. (He is credited with directing Straight Time in 1978, but there is a story there). Essentially, a group of elderly men and women live in a charitable home for retired musicians in England and are about to put on their annual gala (on Verdi’s birthday) to fund the home. The film establishes the temperament and eccentricities of the characters in the first part of the film and then introduces the contradictory aspect: Maggie Smith (playing Jean Horton). Jean has been the most famous (and perhaps most talented) of the group, but has been difficult to get along with. More pointedly, she had been married (or not—it sounds like she left him at the altar or just hours thereafter) to Reggie, a stalwart of the community. Her arrival at the house is a social sea change. The resolution of this contradiction, the development of the relationships, and the transformation of the characters constitute the rest of the film.
The film is superbly acted and beautifully filmed. It takes place almost entirely within the house itself, lending it an almost play-like quality. Nevertheless, it does not seem confined or stilted and uses the grounds around the house to break up the interior shots.
What I really like about the film was that it got into what it’s like to get old. Films on aging are a growth industry right now, with the aging of the baby boomers and this film is part of that. Virtually every character has or is developing the difficult disabilities or illnesses that afflict the elderly. The characters display a lot of empathy toward each other and help each other through trials. Much of the conflict that arises with the arrival of Maggie Smith’s character revolves around the desire—particularly on the parts of Jean and Reggie—to avoid social contact. As they become resolved to the change—and change gets even harder the older we get—both parties begin to meld into the house social scene and begin to warm to each other. This is played out through the attempt to get the key foursome to recreate their performance of the Quartet from Verdi’s Rigoletto at the gala. Whether or not the Quartet is going to be performed provides the tension in the film.
I should note that the music in the film is beautiful. Almost all the background characters—residents of the house—are trained classical singers. The diversity of genres performed keeps the film balanced and from becoming overly “highbrow.”
My main criticism of the film is that I could not see Jean as anyone but Maggie Smith. She never developed into a character separate and above the actor who played her. In a situation where the central character is supposed to be ultra-famous, this isn’t a serious shortcoming. Perhaps in this film, that is exactly what Maggie’s character is supposed to be. But it didn‘t work for me. Perhaps because of the British cast, I was unfamiliar with any of the other characters who were also supposed to be well known. Also, because opera is out of mainstream entertainment, few (Pavroti and a couple of others excepted) achieve super-star status. Thus, Maggie Smith stayed Maggie Smith for me.
This small caveat aside, however, I loved the film. I am a sucker for films in which interpersonal relationships are sympathetically developed, and this is certainly one. I think the pace of the film and the careful attention to balance—both in the scenery (not just the interior of the house) and in the music—were just right. Those attributes are the responsibility of the Director (and Editor, but even here the Director has input and you can’t edit what the Director doesn’t shoot). Hoffman did a great job. Kudos for a film well worth seeing.
Copyright Bruce E. Parry
Quartet is a really moving, deeply emotional British film that explores relationships in older age. It is Dustin Hoffman’s recent directoral debut. (He is credited with directing Straight Time in 1978, but there is a story there). Essentially, a group of elderly men and women live in a charitable home for retired musicians in England and are about to put on their annual gala (on Verdi’s birthday) to fund the home. The film establishes the temperament and eccentricities of the characters in the first part of the film and then introduces the contradictory aspect: Maggie Smith (playing Jean Horton). Jean has been the most famous (and perhaps most talented) of the group, but has been difficult to get along with. More pointedly, she had been married (or not—it sounds like she left him at the altar or just hours thereafter) to Reggie, a stalwart of the community. Her arrival at the house is a social sea change. The resolution of this contradiction, the development of the relationships, and the transformation of the characters constitute the rest of the film.
The film is superbly acted and beautifully filmed. It takes place almost entirely within the house itself, lending it an almost play-like quality. Nevertheless, it does not seem confined or stilted and uses the grounds around the house to break up the interior shots.
What I really like about the film was that it got into what it’s like to get old. Films on aging are a growth industry right now, with the aging of the baby boomers and this film is part of that. Virtually every character has or is developing the difficult disabilities or illnesses that afflict the elderly. The characters display a lot of empathy toward each other and help each other through trials. Much of the conflict that arises with the arrival of Maggie Smith’s character revolves around the desire—particularly on the parts of Jean and Reggie—to avoid social contact. As they become resolved to the change—and change gets even harder the older we get—both parties begin to meld into the house social scene and begin to warm to each other. This is played out through the attempt to get the key foursome to recreate their performance of the Quartet from Verdi’s Rigoletto at the gala. Whether or not the Quartet is going to be performed provides the tension in the film.
I should note that the music in the film is beautiful. Almost all the background characters—residents of the house—are trained classical singers. The diversity of genres performed keeps the film balanced and from becoming overly “highbrow.”
My main criticism of the film is that I could not see Jean as anyone but Maggie Smith. She never developed into a character separate and above the actor who played her. In a situation where the central character is supposed to be ultra-famous, this isn’t a serious shortcoming. Perhaps in this film, that is exactly what Maggie’s character is supposed to be. But it didn‘t work for me. Perhaps because of the British cast, I was unfamiliar with any of the other characters who were also supposed to be well known. Also, because opera is out of mainstream entertainment, few (Pavroti and a couple of others excepted) achieve super-star status. Thus, Maggie Smith stayed Maggie Smith for me.
This small caveat aside, however, I loved the film. I am a sucker for films in which interpersonal relationships are sympathetically developed, and this is certainly one. I think the pace of the film and the careful attention to balance—both in the scenery (not just the interior of the house) and in the music—were just right. Those attributes are the responsibility of the Director (and Editor, but even here the Director has input and you can’t edit what the Director doesn’t shoot). Hoffman did a great job. Kudos for a film well worth seeing.
Copyright Bruce E. Parry
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