Quartet

It's hard to say exactly why "Quartet" fails. There are certainly some good things to be said; Maggie Smith gives her character just the right mix of not-too-subtle cynicism and self-loathing, and the photography by Pierre Lhomme does a fine job of complementing the surroundings. But there is something missing. The Merchant-Ivory-Jhabvala trio have always invested their stories with a strong compassion for their characters, lending a quiet urgency to the tone. Yet there is little of that feeling here.

The desperation of Isabelle Adjani's Marya simply does not ring clear, perhaps because her emotions are kept at a distance from the viewer when they should be brought to the forefront of the story. Marya views Heidler (Alan Bates) as a dominating force, but her fears and his intimidation never develop into anything effective. Bates is an actor who can always be depended on to provide a good performance, but his character is not given enough weight to dominate the screen when he should. In films such as `Howards End' and `The Remains of the Day,' the emotional conflicts between the characters drive the story and keep the (attentive) viewer involved; here, the conflicts do not spurn enough interest because the motivations of those involved are not very clear. The overall effect of "Quartet" is very cold and somber, with few, if any, memorable results.

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.

While Quartet may be a lesser Merchant-Ivory film and is no Room with a View, Howard's End of Remains of the Day, it still has a lot to recommend it. It's not great and could have been better, but is decent.

Quartet for starters is beautifully made, as always the costumes and sets are amazingly sumptuous, is lit with a luminous atmosphere and shot with the usual exquisite charm. It's hauntingly scored too, and there is some intelligent scripting too that does have some poignancy and explores the contrast between upper class lifestyles and moral corruption suitably subtly. James Ivory directs with an appropriate amount of restraint, and there is some good acting here. Maggie Smith relishes her juicy character and her performance along with the production values is the best thing about the film. Anthony Higgins is sympathetic enough too.

Alan Bates' character could have been much better realised though, Bates succeeds in being charismatic but he is not intimidating or nuanced enough, Heidler is very one-dimensional and a character you feel nothing for from the get go. Isabelle Adjani is attractive but somewhat too cold and immature, which doesn't make the character's fear resonate. The dialogue is good here, but a better job could have been done with the characters, for they felt sketchily developed and their motivations rushed and unclear. Merchant and Ivory productions are always deliberately paced, but in their very best work the characters and their situations are really compelling and drive the story effectively, unfortunately because that was an aspect that Quartet was (for me) lacking in the pacing did feel a bit lagging and dull.

Overall, lesser Merchant-Ivory but a decent watch. 6/10 Bethany Cox

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.

"Marya" (Isabelle Adjani) finds herself out on a limb when her husband "Stephane" (Anthony Higgins) is incarcerated for a year for some art fraud. Luckily (or not) she is taken pity on by "H. J." (Alan Bates) and his doting wife "Lois" (Maggie Smith). They invite her into their lives but quickly, she realises that he has a bit of a wandering eye and that though his wife is fully aware, she is too afraid of losing him to intervene. "Marya" doesn't welcome his attentions, indeed she makes it clear that she's not the slightest interest at all, but a combination of circumstances and her foreign birth (she is originally from the Caribbean) make it tough for her to find acceptance or a job. Despite repeated attempts to flee, she finds herself drawn more and more into his toxic manipulations - even once her husband is released from prison. "Stephane" is under no illusions as to the scenario and so now it's choice time for everyone who has got used to the situation and the lifestyle. Thing is, here, it's all so gorgeously filmed, costumed and designed but the delivery of the story is entirely sterile. Bates, especially when he tries to get emotional, is frankly pretty terrible and Smith's character is just so weak and feeble that she has little to get her teeth into the role beyond playing (well) a porcelain shadow of a woman. It's probably Adjani who disappoints most, though. She's as flat as a pancake with her performance, coupled with the rest of the lacklustre direction, presenting us with something that is very much a victory for style over substance.