Quartet

Somerset Maugham, who wrote tons of plays and stories, introduces his set of four shorts, while telling us a little bit about himself. In Facts of Life, Nicky (Jack Watling) learns a lesson, although we're not sure just what lesson he has learned. In Alien Corn, a young Dirk Bogarde is George Bland, a pianist who is determined to know how good he is, so he brings in an expert to evaluate. (LOVE her HAT!) In The Kite, Herbert Sunbury (George Cole) is in jail for abandoning his wife. We flash back to see what led up to it; his wife Betty (played by Susan Shaw, who was really born Patsy Sloots!) hadn't been very nice to him... In Colonel's Lady, the Colonel's wife has written a book, and EVERYONE is talking about it, much to his dismay.

Note that Hermione Baddeley (plays Beatrice Sunbury) will go on to be Mrs. Naugatuck on TV show Maude, while her sister Angela Baddeley will do mostly British TV series, most notably Upstairs, Downstairs. Probably the biggest star in this group was Dirk Bogarde, who had mixed success in both the British and Hollywood film industry. Playing his part in "Victim" may have altered his later career success. Quite an interesting bio on IMDb, worth the read. Viewers will also recognize Cecil Parker (plays Colonel Peregrine, in Colonel's Lady) from Indiscreet, with Cary Grant. Quartet is an entertaining set of Maugham stories, some have happy endings, some do not.

One can understand why W Somerset Maugham's writing is celebrated (though can understand if people feel his writing hasn't aged well), have appreciated always his sharp prose, insight and charm. It is interesting to see his work adapted on film, which it isn't enough in my view. Good examples are the three films comprising 'The Aesop's Fables Maugham Concerto Trilogy', three anthology/portmanteau films of three or more segments important in popularising this particular format (especially 'Quartet').

1948's 'Quartet' is the first of this particular trilogy, the other two being 1950's 'Trio' and 1951's 'Encore'. It is not an even film all the way through (anthology films seldom are, in a number of the numerous ones seen there is at least one segment that doesn't work as well as the others), but it is very good with not an awful lot to criticise as an overall whole. Of the three films, 'Quartet' is perhaps the best, though all three are worthwhile and more in their own right. Found a lot to like about all four segments, named "The Facts of Life", "The Alien Corn", "The Kite" and "The Colonel's Lady".

As said, there is not an awful lot wrong at all. For my tastes, "The Kite" ended slightly anti-climactically and "The Alien Corn", while still well done in its own way, beautifully acted, insightful and quite touching, has a different, darker tone than the rest of the lighter, more subtle stories and it slightly jarred in comparison.

There is an awful lot to like in 'Quartet'. Will agree with those saying that "The Colonel's Lady" is the best of the four, found it very insightful, beautifully subtle and very moving, the ending being an especially poignant touch. Loved the twists at the end of each segments, the most surprising being the one for "The Alien Corn", and the thoughtful hosting of W Somerset Maugham himself. 'Journey's End's' RC Sheriff adapts the stories with intelligence, refreshing lightness and respect for Maugham's writing, with a nice mix of emotion, thought-provoking subtlety ("The Facts of Life" being the most subtle and gentle perhaps), real insight into the subject matter, charm and offbeat amusement ("The Kite" particularly).

'Quartet' is beautifully filmed and directed, especially in "The Colonel's Lady", as well as evocatively scored throughout. The cast range from good to brilliant, with the best performance coming from Cecil Parker. It was interesting to see a pre-stardom Dirk Bogarde and he is also very good, as is Honor Blackman

Concluding, very well done. Worth seeing for especially "The Colonel's Lady", which gets my personal vote of the best segments of all three films in the trilogy. 8/10 Bethany Cox

Somerset Maugham had trained as a doctor and his dissection of human nature is surgically precise.

This represents the first of the trilogy of films adapted from his insightful short stories.

'The Facts of Life' is interesting for the tantalising performance of Mai Zetterling whilst the least effective and pointless story is 'The Kite' featuring George Cole, an actor about whom I have never been entirely convinced who was lucky enough to find his niche on the small screen. In the tragic 'Alien Corn' directed by Harold French, aspiring pianist George is informed by virtuoso Lea Makart that he simply does not have that 'extra something' that makes a great artiste. Faced with this devastating judgement even the love of luscious Honor Blackman as Paula cannot offer him sufficient consolation. Excellent performances from Dirk Bogarde and the always magnificent Francoise Rosay.

Judging from previous reviews the jubilant surprise in the collection is 'The Colonel's Lady' directed by Ken Annakin. A perfectly judged and beautifully observed performance here by the immaculate Cecil Parker and a touching portrayal by Nora Swinburne as his wife whose 'scandalous' book of poetry causes all sorts of trouble. There is a very amusing scene where a literary critic played by Ernest Thesiger, likens her verse to that of Landor and Sappho which prompts Parker to storm off muttering 'Idiot!' The final reconciliation of husband and wife is beautifully understated. Excellent adaptations by R. C. Sheriff and a first class score by John Greenwood. It is undoubtedly this, the last of the set, which is the pearl in the crown.

Anthologies whether on stage, page or screen, are among the hardest of pieces to successfully bring off because it is so difficult to find collections of stories which complement each other with similar tone and style - and sufficiently varied to hold audience interest. With the death of the stage revue form, with interspersed songs and sketches but no thru-plot line, we have failed to develop a popular palate for the possibilities and even the outlets for short stories, the traditional training ground for great writers seem to have fewer outlets these days.

W. Somerset Maugham was one of Great Britain's last great, subtle story tellers, a master of the ironic and quiet wisdom. Late in a long career he had substantial success with three films tied to successful books of his classic short stories - of which QUARTET was the first. In it, Maugham provided an introduction to the collection and a brief exegesis or afterward. In the subsequent films, TRIO (1950) and ENCORE (1951), the film makers improved the experience by having Maugham provide a brief introduction to each of the three stories - reduced from QUARTET's four.

The four works dramatized in QUARTET are given perfect, polished productions with appropriate stars of the British stage and screen, only a few of which will be familiar to American eyes - most notably Dirk Bogarde as the hopeful pianist in the strangely undercut (by the screenwriter's removing Maugham's ethnic subtext) "Alien Corn," the movie's second act, and Honor Blackman as his girlfriend. The stories themselves are quiet, literate and well worthwhile, but hardly the sort of thing to set the pulse racing. More the sort of thing to set the MIND racing. They well reflect the sort of sensibility, such as which Maugham brought to his best plays like THE CONSTANT WIFE, THE CIRCLE or THE LETTER.

Maugham's three anthologies were successful enough that a decade later his works were again tapped for a successful three year run of an hour long television anthology ("The Somerset Maugham Hour") in which all four of these stories would be recycled along with several of those from the film sequels.

Hard to find at present in the U.S. aside from occasional screenings on cable services like Turner Classic Movies, the films have been reissued on British DVDs and are well worth seeking out for good, literate viewing. Some of these four (the concluding "Colonel's Lady" in which a Col. Blimp-type, startled to find his wife of many years has written a best selling book of poetry recalling a great love affair is consumed with jealousy for the unknown lover) are legitimate classics, some ("Alien Corn" in which 'reasonable' solutions to personal passion are found wanting or "The Kite" in which a young wife nearly destroys her marriage through a conventional concern with her own image and refusal to understand her husband's passion) have been copied so frequently they risk feeling almost trite and some ("The Facts of Life" in which a young man finds his father's advice not infallible) are so quietly humorous that it is easy to miss Maugham's more serious point, but all are quiet gems, polished to a nice soft glow.

The Entire Maugham trilogy (QUARTET, TRIO and ENCORE) is well worth your time if you don't need car chases and explosions to hold your interest.

If you wonder why the story "The Alien Corn" has that title, the answer tells you what has been left out, and why it is therefore so bland and restrained as to be superficial and uninteresting. Maugham gave it that title because it was about Jews. The boy's father is not some terribly, terribly dash-it-all, upper-upper English aristocrat. He is a self-made man who has devoted his life to fitting into English society. But, Maugham says, in a line no one who has read this story will ever forget, he betrayed himself with one characteristic which marked him out as entirely un-English: "He loved his son." It is this tension between the man's deep, sensual love of his son and the man's desire to fit in with the English upper class, who do not become artists, or didn't then (sort of thing foreigners and nancy boys do), that gives the story its power and pain, not simply the young man's desire to be an artist conflicting with his lack of talent. And it is a disgrace that, even after World War II, the filmmakers clearly thought that the problem of Jewish assimilation could not be part of a "civilised," classy, English entertainment.