Quartet

This is the sort of film I normally strenuously go out of my way to avoid: the feel-good movie, especially the feel-good movie (Billy Elliot comes to mind) in which characters find "redemption" and "meaning" through Art. As a rule, the Brits do this kind of film much better (Brassed Off, the Full Monty) than Hollywood (no examples I would care to cite, I haven't had my breakfast yet); this is a hybrid, being a British written and produced movie, with an American director (Dustin Hoffman) making his directorial debut at the tender age of 74.

So, why did I go to see this? "The Big Yin", Billy Connolly, of course. I dote on the man: all it takes is an imitation (and I believe that every single British comedian, of either gender, has one) to make me smile. So, aye, I knew at some point I was going to have to see this, and I am happy enough to have seen it on the big screen (there, I just did one). The acting from the entire cast is, of course, first rate; how not, when the cast is headed by Maggie Smith, Michael Gambon, Pauline Collins, and the great Tom Courtenay? With all respect to my main man, Billy Connolly, Courtenay's performance is what drives the picture; I'm old, and this man has been appearing on screen since before I was even born. We are talking some serious actor's chops here.

As for the story, it's just one of those: "will they get the Gala on stage and save this wonderful home, where they can be themselves and inspire future generations?" What do you think? I can't say that I noticed the direction, one way or the other: I suppose you would have to categorize Dustin Hoffman as an "actors' director", which is what's called for in a film like this. For me, the best part of the film was the end credits, where the actors' names were accompanied by head shots from when they appeared in opera companies and symphony orchestras way back in the day.

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!

I saw this in Savannah (Film Festival), with a crowd that was averaging 50 and above. Everybody was laughing through out the whole picture, when I came out of the theater everybody only said nice things about it, I have never seen so many old people come out of a theater so happy!!!

Please see this film, NO MATTER WHAT AGE YOU ARE. People don't make movies for such a demographic, or at least rarely, this movie quite frankly made me weep, laugh, and have a range of feeling that I have not experience from any picture released this year!

Some moments hit you hard man, real hard, you might be laughing one scene and then the next scene you just realized that the 'thumb up' from one old man to the next gives chills on how life can end at any moment and at any time.

Dustin Hoffman, my man, you have made many people, many seniors of this country really happy, you have done what most always want but never will.

Thank You, to the cast and to the crew!!!!!

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!

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.