Quartet

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their gratitude to the retired artists, in exchange for a performance by the residents of this facility overflowing of outdated talent.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.

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!

After years of acting and two Oscars under his belt, Dustin Hoffman finally takes a turn behind the camera in his directorial debut for Quartet.

Based on Ronald Harwood's play of the same name, the film takes place at Beecham House, a home where retired opera singers Cissy (Pauline Collins), Reginald (Tom Courtenay) and Wilf (Billy Connolly) live. Formally part of a quartet, every year the three take part in a concert to celebrate composer Giuseppe Verdi's birthday. But when Jean (Maggie Smith), the fourth member of their group arrives at the seniors' home, things get complicated. As she is the ex-wife of fellow member Reginald, old rivalries, theatrical temperaments and drama evidently ensues and it becomes unclear whether or not the show will go on.

While the film never gets any more drastic than this, it is delightfully charming to see veteran actors Smith, Courtenay, Connolly and Collins strut their stuff. With Smith perfectly playing the slightly narcissistic queen bee of the group, even Michael Gambon makes an appearance as the eccentric lead coordinator of the concert. But as we see Courtenay's Reggie harbour old feelings for his ex-wife and Collins play the lovable confidante Cissy, it's Connolly who steals the show as the hilariously lustful Wilf.

Although there isn't much material to let the actors stretch their acting capabilities, Quartet is a pleasure to watch. Although it pokes fun at old age and shows the fears of becoming a has-been, it's the performances by the film's legendary actors that make Hoffman's endearing tale what it is.

"Quartet" is the filmization of Ronald Harwood's 1999 play with the screenplay by the author. The story is set in a retirement home for musicians named for Sir Thomas Beecham. Plans are underway for the annual concert fundraiser to coincide with Verdi's birthday. Heading the gala committee is Cedric played by Michael Gambon. Kudos to Mr. Gambon for rocking the caftan like no one since George Zucco in "Tarzan and the Mermaids". One of Cedric's committee members is soprano Cissy played by the delightful Pauline Collins. Cissy is a "getting worse" in that her memory is failing. Her old stage partner Wilfred is the resident naughty man of the home played by Billy Connolly in his familiar raucous way. Wilfred delights in flirting outrageously with all the women and needling Cedric. The more sedate Reg played by Tom Courtenay came to the home to check on Wilf who had been admitted after a slight stroke. Here Reg found his niche in caring for his friends and holding classes for young people.

Into this garden spot comes a new resident, a noted opera star played by Maggie Smith. Jean is known to all and her appearance is less than appreciated by her former husband Reg. Her arrival shakes up his whole existence. There is also another "star" in residence brilliantly cast with Dame Gweneth Jones. The dagger-like looks that flash between the two divas, when the term meant more than demanding behavior, is worth the price of admission.

Jean's adjustment to the retirement home and a crisis with the annual gala are the concerns of the present. Reg's torment over the presence of his lost love makes old wounds fresh. Life is definitely not retiring in this home because, as Cissy is fond of quoting Bette Davis' remark, "old age is not for sissies".

Director Hoffman gives us many quiet moments to observe the entire ensemble as life swirls around the preparations for the all-important concert. We get to know the patient piano teacher/accompanist, the old song and dance men, the lifelong choristers, the pit musicians and the staff of the home, along with our "quartet". I laughed, I cried, I laughed again, and I cared. Highly recommended.

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.