Quartett

Set in a British retirement home for ageing musicians, Dustin Hoffman's directorial debut is a well-crafted drama, which deters away from negativity to focus on the bright side of elder life. Partly a homage to opera and music in general, it always serves as a swansong for those artists, who fade away forgotten by the passing time. Featuring a multitude of real-life famed English musicians, "Quartet" breathers life and significance with its delicate and graceful touch.

This exclusive and vast Beecham Home for retired musicians is forced to survive through the help of sponsors, who once a year show their gratitude to the retired artists, in exchange for a performance by the residents of this facility overflowing of outdated talent. Within its confines live three of a foursome - Cissy, Wilf and Regie - which gained international acclaim for their performance of "Rigoletto". Randy old wolf Wilf Bond (Billy Connolly) and the Alzheimer challenged Cissy Robson (Pauline Collins) were competent voices, but the quartets strengths lay in their star duo of ex-lovers Reginald Paget (Tom Courtenay) and Jean Horton (Maggie Smith). Reginald himself, unlike most of his comrades, has found a curious solace in old age, gracefully living out the days at the residence, while occasionally holding lectures on opera destined for the youth.

This idyll is seemingly corrupted when Jean Horton becomes the new inhabitant of the retirement home, thus reigniting old passions and unhealed wounds. However only a performance by the quartet of singers seems to have the power to save the home from closure...

Featuring a delightfully funny performance by Billy Connolly, reinforced by some welcome lightness from most other residence dwellers, "Quartet" does however falter at times with building the dramaturgy, often falling into light fluff filler with not enough punch. That said the sunny outlook on life on offer, which punctuates the bright sides of elder life, bypassing, albeit not ignoring, doom and gloom, may just fit better in such a slight picture, where room for change and happiness is but a smile away, irregardless of age-old vitriol. As mentioned Connolly steals the show, with his crowd-pleasing effort as one of the most vibrant inhabitants of the Beecham House, refusing to give in to his elderly inhibitions tirelessly making lewd proposals to the caretakers or to the local doctor Lucy Cogan (Sheridan Smith). Similarly well-worked is Pauline Collins as the mentally incapacitated Cissy, who struggles with her mind-lapses to live a dignified life. Here her friends come to her aide countless times with what is the most emotionally impactive element of the story, as this lovable, ever-smiling dame is victimised by her senile disability.

Dustin Hoffman's stylish debut seems confident in its concept, offering a carefree look at seniors, not offering much surprise, but catches on with its surefire optimism. Not often do you get to chance to see a movie featuring the elderly, which does not offer a philosophical outlook on death and spending eons of energy on presenting the inevitable. This occurs despite the lack of family, as most inhabitants of the institution focused their life on their art, instead of their family. Here however the protagonists manage to overlook the past, whether it be regrets, built-up animosities or the facades of former glory. Even the physical disabilities of age can't keep them down and out, when each of them must deal with bigger or smaller demons to be able to contemplate happiness.

I cried tears of joy at the end of this wonderful movie. The acting, the sets, the country side and most of all, the story. This comedy-drama revolves around a home for retired musicians, patterned after the real-life Casa di Riposo per Musicisti founded by Giuseppe Verdi. The annual concert to celebrate Verdi's birthday is disrupted by the arrival of Jean, an eternal diva and the former wife of one of the residents. Maggie Smith is a remarkable actor, and she is at her finest here. Michael Gambon has the most intense air about him, Pauline Collins is a delight to watch and, of course, Bill Connolly is a wee bit over the top here, though a delight to watch as well. This is a beautiful story, told by many talented actors and it deserves to be seen. Brava!

First of all, I wish this is more popular in my country. This movie has a lot to share in its story and characters. While watching, you'll get flashbacks and flashforwards (if this word even exists) about your own life. It'll give you very many new perspectives about life, about the past, the present, and the future. Of course, without making you feel desperate and stressed.

It's packed really well in the plots, the characters brought the atmosphere to such a heavy and tense but breathable gravity. It talks about facing getting old, expiration of gifts, forgiveness, love, memories, in beautiful ways.

The only thing that makes me let two stars lost from the rating is it's too short, I really want it to be more. I want to see more about the characters in the movie. They are enchanting, their stories are wondrous, their interactions are spellbinding.

Great salute for everyone who made this movie happen.

What remarkable good fortune that Dustin Hoffman chose this Ronald Harwood play (and screenplay) for his directorial debut at age 75. This is a movie for actors, and there are many terrific performances in this wonderful ensemble piece about the residents of a home for aging musicians, which we saw at our movie preview club.

But the warmth of the story - the vibrancy of the seniors playing string quartets and practicing their cellos and clarinets, their friendships, annoyances, disappointments, and even loves - marks this film as something very special.

Hoffman has taken a beautiful English estate and turned it into a world of music filled with well-drawn and compelling characters: the woman with advancing dementia who relishes the CD of her performing Rigoletto 40 years ago; the flirtatious Wilf, whose "advances" towards the women on staff are never offensive and always charming; the aging diva - the always wonderful Maggie Smith - who is horrified by the thought that by moving in her life is over.

The best drawn (and in my mind, played) character is Wilf's best friend Reggie, who doesn't get Wilf's preferential treatment but has a quiet dignity and love of his life and his art that quietly shines through. His scene teaching students by comparing opera and rap may be this film's best.

Reggie is played by one of the most underrated and powerful British actors of his time, the estimable Tom Courtenay. It's hard to believe it's been 50 years since he starred as a 25-year-old in The Loneliness of the Long-Distance Runner. In a performance of grace, nuance, and elegance, Courtenay outshines even Maggie Smith. Perhaps he's inspired by working again from a Harwood screenplay; it was Harwood who wrote The Dresser, an excellent 1983 vehicle for Courtenay and Albert Finney.

One more note: Finney was apparently supposed to play the Wilf role, but unfortunately was not up to it health-wise. But comedian Billy Connolly's performance is just splendid.

See this movie!

As a 16 year old, it's safe to say that this obviously is not a film which is aimed at me at all, being based in a retirement home for old musicians where cracking jokes about opera is, you know, hilarious. In fact, the screening I was in was filled with those with white hair. It's not often that I feel out of place at a cinema, but I on this occasion I did.

Quartet, as you probably know, features a stellar cast of older actors; Maggie Smith and Tom Courtenay playing the reunited divorcées with a history; Billy Connolly as a pottering and senile old tenor, cracking double-entendres at every opportunity; and Pauline Collins, who in my opinion steals the show, as the ditzy ex-opera singer. What follows is an unashamedly predictable, but nevertheless solidly crafted and amusing drama that wouldn't look out of place on a Sunday afternoon TV slot. Minus the f-words, of course. Yes ,you can see its development from a mile off, and it rarely addresses the more serious and harrowing aspects of old-age as Haneke's 'Amour' did, but it's good natured, well scripted and amusing fun.

It's all through the typical rose-tinted, Downton-esque portrayal of Britain that we're all accustomed to, but with a cast like that and a gentle, sweet story, it's hard not to be eventually won over by its charm. I had a good time.