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Marya Zelli se queda sin blanca después de que su marido, el marchante de arte, Stephan, sea condenado por robo. Marya acepta la hospitalidad de una extraña pareja, H. J. y Lois Heidler, qui... Leer todoMarya Zelli se queda sin blanca después de que su marido, el marchante de arte, Stephan, sea condenado por robo. Marya acepta la hospitalidad de una extraña pareja, H. J. y Lois Heidler, quienes la acogen en su casa.Marya Zelli se queda sin blanca después de que su marido, el marchante de arte, Stephan, sea condenado por robo. Marya acepta la hospitalidad de una extraña pareja, H. J. y Lois Heidler, quienes la acogen en su casa.
- Dirección
- Guionistas
- Elenco
- Nominada a1 premio BAFTA
- 2 premios ganados y 2 nominaciones en total
Sébastien Floche
- Mr. Hautchamp
- (as Sebastien Floche)
Isabelle Canto da Maya
- Cri-Cri
- (as Isabelle Canto Da Maya)
Annie Noël
- Maid
- (as Annie Noel)
Opiniones destacadas
"Quartet" from 1981 takes place in Paris in 1927.
Marya Zelli (Isabelle Adjani) and her husband Stephan (Anthony Higgins) in Paris and seem very much in love. One night, Marya and Stephan are in a club and Marya is summoned over to the table of the Heidlers, Lois and E.J. (Maggie Smith and Alan Bates). Lois is a painter and wants the stunning Marya to pose for her.
Stephan is selling stolen art and is arrested and given a one-year sentence. Marya has no work visa. The Heidlers invite her to live in their spare room, which she does.
It turns out that Heidler marriage isn't what it seems to the outside world. The reality is that Lois sort of procures pretty young women for her husband so that he'll stick around. Lois continues to visit Stephan in prison. But once released, he will have to leave Paris, and he will be broke. She's stuck -- she can't possibly be attracted to E.J., who is homely, but then again, it's either that or she lives on the street.
This is a story we've seen before, as in Sister Carrie, where a woman in those days had very few options. It's actually based on a novel by Jean Rhys, which tells the story of her relationship with Ford Maddox Ford.
Hard to believe this is a Merchant-Ivory film, but there it is. The film moves slowly, and at 1:45, it's too long and the people who made the picture knew it - we are treated to no less than three nightclub acts, and they're not short.
The acting, of course, is fantastic, particularly from Maggie Smith, as a woman desperate to hold onto her husband at any cost. Why, we don't know, because they probably don't have much if any sex life. Alan Bates transforms himself into a homely, paunchy man and does an excellent job as a boring satyr.
Until she destroyed her face with fillers and heaven knows what else, Isabelle Adjani was, by a mile, one of the most beautiful women in the world. It's hard to believe her character couldn't find some rich guy to marry and was settling for her unpleasant situation at the Heidlers. In the dresses of the period, she is exquisite. Her acting is excellent -- you can feel her frustration, depression, and acquiescence. Anthony Higgins has the smallest role but is very effective.
The film turned out to be a flat experience. It's a shame because such talent could have been involved in a much more involving story.
Marya Zelli (Isabelle Adjani) and her husband Stephan (Anthony Higgins) in Paris and seem very much in love. One night, Marya and Stephan are in a club and Marya is summoned over to the table of the Heidlers, Lois and E.J. (Maggie Smith and Alan Bates). Lois is a painter and wants the stunning Marya to pose for her.
Stephan is selling stolen art and is arrested and given a one-year sentence. Marya has no work visa. The Heidlers invite her to live in their spare room, which she does.
It turns out that Heidler marriage isn't what it seems to the outside world. The reality is that Lois sort of procures pretty young women for her husband so that he'll stick around. Lois continues to visit Stephan in prison. But once released, he will have to leave Paris, and he will be broke. She's stuck -- she can't possibly be attracted to E.J., who is homely, but then again, it's either that or she lives on the street.
This is a story we've seen before, as in Sister Carrie, where a woman in those days had very few options. It's actually based on a novel by Jean Rhys, which tells the story of her relationship with Ford Maddox Ford.
Hard to believe this is a Merchant-Ivory film, but there it is. The film moves slowly, and at 1:45, it's too long and the people who made the picture knew it - we are treated to no less than three nightclub acts, and they're not short.
The acting, of course, is fantastic, particularly from Maggie Smith, as a woman desperate to hold onto her husband at any cost. Why, we don't know, because they probably don't have much if any sex life. Alan Bates transforms himself into a homely, paunchy man and does an excellent job as a boring satyr.
Until she destroyed her face with fillers and heaven knows what else, Isabelle Adjani was, by a mile, one of the most beautiful women in the world. It's hard to believe her character couldn't find some rich guy to marry and was settling for her unpleasant situation at the Heidlers. In the dresses of the period, she is exquisite. Her acting is excellent -- you can feel her frustration, depression, and acquiescence. Anthony Higgins has the smallest role but is very effective.
The film turned out to be a flat experience. It's a shame because such talent could have been involved in a much more involving story.
9ewc
Few screenwriters have ever jumped the gap that Jhabvala traversed between THE EUROPEANS (1979) and QUARTET (1981). I know of no other film that captures as well the sense of European pre-WW2 'decadence' (compare CABARET for an object lesson in failure!), or that is directed and photographed with stronger integration of the settings, colours, sounds and behavior within the story being told. A remarkable achievement - the film that put filmmakers on notice about how well the remarkable Jhabvala/Ivory/Merchant trio present stories locked into their space and time.
Abandoned in Paris with no work permit and no savings, when her art-dealing (illegal) Polish husband is sent to prison, Marya Zelli (Isabelle Adjani) accepts the hospitality of the Heidlers, Lois and H.J.(as Lois invariably calls him) which, probably inevitably, involves her providing bed service to H.J. The video box describes the Heidlers as a "freethinking British couple" - if you can accept a couple, with such limited self-awareness and inability to talk through their problems, as freethinkers.
The film is based on the novel by Jean Rhys, based on her own experiences with Ford Madox Ford who presumably had more going for him than H.J., or else he wouldn't be in all those books on the literature of the twenties. Apparently Ford helped Rhys with her novel, and after he tired of her body got her a ghost-writing job on the Riviera. Rhys' husband was out of prison and had abandoned her before she moved in with the Fords. Presumably her major motivation was her devotion to her writing. Marya Zelli, in the film is not a writer, and she stays in Paris because her husband is still in prison. She says more than once to Lois that if given 100 Fr she would disappear (back to England where she could legally work?) but she gets 250 Fr just before moving in with the Heidlers when she sells almost everything she has to the hotel concierge.
Thus while the film is of the desperation of no choice, Marya has in fact fewer options than the real-life Rhys, and the film ending where Marya is thrown on the mercy of her husband's acquaintance from prison, is very bleak, unlike Rhys' fate of being ejected to a writing job.
The film is based on the novel by Jean Rhys, based on her own experiences with Ford Madox Ford who presumably had more going for him than H.J., or else he wouldn't be in all those books on the literature of the twenties. Apparently Ford helped Rhys with her novel, and after he tired of her body got her a ghost-writing job on the Riviera. Rhys' husband was out of prison and had abandoned her before she moved in with the Fords. Presumably her major motivation was her devotion to her writing. Marya Zelli, in the film is not a writer, and she stays in Paris because her husband is still in prison. She says more than once to Lois that if given 100 Fr she would disappear (back to England where she could legally work?) but she gets 250 Fr just before moving in with the Heidlers when she sells almost everything she has to the hotel concierge.
Thus while the film is of the desperation of no choice, Marya has in fact fewer options than the real-life Rhys, and the film ending where Marya is thrown on the mercy of her husband's acquaintance from prison, is very bleak, unlike Rhys' fate of being ejected to a writing job.
I chose this film to watch at the 2024 Paris Olympic. In bohemian 1920s Paris, young writer Marya finds herself destitute when her art dealer husband Stephan is imprisoned. Rich art patron Heidler and his artist wife Lois offer to take Marya in for the duration of Stephan's sentence. Heidler soon seduces Marya, and Lois painfully accepts his infidelity. This movies Isabelle Adjani in a four-way love affair, Merchant-Ivory's impeccable adaptation invokes the sordid glamor of Jean Rhys's eponymous novel. Waltzing through cozy cafés and sexy nightclubs, Quartet dines on the bohemian hedonism of 1920s Paris while exposing the callousness of the idle rich.
Jean Rhys wrote this novel about her relationship with the then prominent writer Ford Madox Ford. While a young woman's husband is in prison, she is taken in by a writer and his wife, becoming the man's mistress. It was not a happy affair, but at least Rhys got her revenge with this story.
¿Sabías que…?
- TriviaWriter and Director James Ivory initially resisted the casting of Dame Maggie Smith in this movie. Although he did not think her appropriate for the role, despite her talent, she was cast by Producer Ismail Merchant over Ivory's objections. Ivory later conceded, "it was one of the most wonderful things that ever happened to me."
- Citas
Lois Heidler: If you see only Anglo-Americans in Paris, what's the use of being here at all?
- Versiones alternativasFrench dubbed version with French credit roll for French Release version.
- ConexionesFeatured in Sneak Previews: Rollover, Quartet, My Dinner with Andre, Reds (1981)
- Bandas sonorasThe 509
Arranged by Luther Henderson
Written by Richard Robbins (uncredited)
Performed by Armelia McQueen (uncredited)
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- How long is Quartet?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitios oficiales
- Idiomas
- También se conoce como
- Quartett
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total en EE. UU. y Canadá
- USD 12,042
- Fin de semana de estreno en EE. UU. y Canadá
- USD 5,150
- 5 may 2019
- Total a nivel mundial
- USD 12,042
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