Le Quatuor

As the film opens and the four members of the renown, Manhattan based Fugue string-quartet grace their humble audience and stage, they slowly bow…and the film cuts.

Like so many movies before it, the film starts where it ends.

Like a cheap, brand new suit or a stuffy high-brow gala, Yaron Zilberman's A Late Quartet is a fine piece of high cultured entertainment with low-brow issues.

Graced with fine classical music and an impeccable musical score from Angelo Badalamenti, the music is just the setting for a simple story of passion and love. But the twist in the narrative as the film unfolds, is not the love and passion the quartet shares for one another, but rather a sizzling passion for the sounds and beauty of classical compositions.

Like any hobby or refined passion, A Late Quartet is a showcase of how music affects the lives of people who allow them to be engulfed by the mesmerizing strings of some of the greatest musicians to have ever lived.

Once together, the Fugue is a metaphor of beauty, wisdom and harmony; consisting of a group of people who are diverse both physically and emotionally. The members of the quartet include violin I and perfectionist Daniel Lerner (Mark Ivanir); violin II and the emotional impulse of the quartet Robert Gelbart (Philip Seymour Hoffman); viola and the sensible lone female composer Juliette Gelbart (Catherine Keener); and finally the glue and backbone of the quartet, aging cellist veteran and mentor to all three players Peter Mitchell (Christopher Walken).

Upon learning of his weary health and the early signs of Parkinson's disease, Peter must share with the quartet his illness and impending future of the group. His influence goes far beyond what he brings to the stage, since he and his recently deceased wife Miriam (Anne Sofie von Otter) raised Juliette from an early age as an orphan. And his teachings of classic music to Daniel as a student makes his departing the quartet emotionally straining and difficult for everyone.

As the option to find another cellist arises and the chance for the group to evolve as they approach their quarter-century anniversary, Robert sees this as an ideal opportunity to play switching roles as violin I and II—with hesitation from the obsessed Daniel and his nonsupporting wife Juliette.

What transcends from the melodrama between these people and the struggles they face as a group of human beings, putting aside their passion for classical music, is a portrait of love, lost and acceptance. The film plays as a modern-day fable to unleash one's passion and wonderful moments of fulfilling your dreams with realities.

A Late Quartet may be a heightened sense of melodramatic wonder, thanks to the highly emotional and super sensitive Sting Quartet No. 14 by Beethoven in the film's finale or the wonderful sounds of the Brentano String Quartet playing on behalf of the Fugue. Nonetheless, a few things are certain.

A Late Quartet is a masterclass in acting for all four masterful and meticulous actors.

I watched this movie out of appreciation for Hoffman. So glad I did. Independent films such as this one have really begin to open my eyes to another world of cinema.

It's always great to see new faces and uncover some true talent, like Mark Ivanir. I only saw him in the Good Shepherd, but this performance will remain with me for some time. He seemed very attached to his role.

I recommend this movie to anyone who has a growing interest in classical music. It definitely furthered my interest. Listening to Chopin as I write this. :)

Be warned, the plot seemed slow and at is some times difficult to relate to. However, still a very good movie to open your mind to.

First things first: this is emphatically not Dustin Hoffman's weak, flaccid 'comedy', Quartet. Turn around, walk quietly away and we'll pretend you weren't here.

A Late Quartet is a moving, thought-provoking, entertaining and thoroughly rewarding journey through the final act of four friends' musical life together. From the opening scene to the final chords, the music sweeps us along the emotional roller-coaster of four friends with more complicated relationships than the members of ABBA and stirs in us feelings of sadness, contempt and judgment: How could s/he? What were they thinking?

In their 25th year together, the world-renowned Fugue String Quartet endeavour to mark the momentous occasion with a remarkable tour, but rehearsals falter when their cellist, Peter (Christopher Walken), announces he is in the early stages of Parkinson's Disease, placing the quartet's tour and future in jeopardy. The concern each of the other members experiences acts as a catalyst for their own clumsy actions, and what has been a solid unit for a quarter of a century fractures with maximum pain, frustration and anger as resentments rise.

A Late Quartet is truly an ensemble piece and, no, I'm not trying to be funny. To elevate any of the four above the others would be to miss the point of the film entirely. Just as the characters have their position in the quartet (and this becomes a plot strand), so, too, do the actors have their place; but their roles are different, not greater or lesser than another's.

Walken might initially be deemed the principal as the recently bereaved elder statesman of the group, and Peter's desperation as both his body and his life's work stop functioning is heartbreaking. He is impotent in both matters and battles to find the mature way to seize control of his own destiny again. He might have won an Oscar for The Deer Hunter, but this is his most powerful, unselfconscious performance in many years.

Robert (Philip Seymour Hoffman) and Juliette (Catherine Keener) are husband and wife, second violin and viola respectively. Theirs is a marriage of mutual respect but as Robert deals with the quartet's crisis in his own naive, foolish manner and Juliette lashes out in response, the existence of genuine love in their companionship is brought into question as each defends themselves with verbal attacks, one bludgeoning, the other stabbing. There is nothing 'Hollywood' about their performances and the rawness both characters expose in each other is palpable to any viewer living in the real world. A word once spoken cannot return and an action performed cannot be undone.

In terms of star power in the cast, Mark Ivanir is way down the list, his career largely highlighted by video game acting, but as first violinist, Daniel, he is a very powerful force both in the quartet and the film. His intensity is a large part of what keeps the quartet together but it easily presents itself as a blunt weapon of stubbornness and arrogance. But, damaging though his stubbornness might be, for much of A Late Quartet it seems to be the one constant that keeps them together. Alas, not even Daniel is immune to the crisis and he, too, falters foolishly, convincingly and cringingly.

The weak link in A Late Affair, and the principal reason it falls just below perfection, is Imogen Poots (28 Weeks Later, Fright Night) as Robert and Juliette's daughter, Alexandra. A violinist under the tutelage of Daniel, she is precocious, spoilt, selfish and a brat in a young woman's body. That Alexandra is unpleasant is not the issue; she adds another dimension to the film and background to each member of the quartet. That Poots pouts (yes, you may smile at that one) almost unendingly is. She fails to give us a full picture. How can anyone love this creature? She is two-dimensionally awful and has slipped ever so slightly over the boundaries of subtlety and into pastiche. It's a small criticism, but it's a bothersome issue.

Writer/director Yaron Zilberman (his only other credit to date is multi-award-winning documentary Watermarks) has give the word a striking and beautiful feature in A Late Quartet. He has written his characters realistically and directs them with tenderness, evidently caring deeply about them (well, perhaps not Alexandra) and insisting on truth in story and performance. He has now directed as often as Dustin Hoffman but his quartet resonates with his audience and remains indelible in our minds in a way that Hoffman can only forlornly hope for his own fading musicians.

Sit quietly through the credits and beyond, even if the cinema goes dark and you are left alone. A Late Quartet is not a film to rush away from and is an experience to embrace, silently. Take note, trio of chatterboxes at The Watershed!

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A Late Quartet is a beautiful film in so many ways - what is has to say about music and aging, about the pure satisfaction of devoting oneself to an academic, intellectual life - and the sheer effort required to be great at anything, let alone great at a classical instrument is sincere and rings true. Morevover, the acting from the ensemble and the cinematography are exemplary.

I loved this film in so many ways - but while conflict is necessary for any plot, here the multiple conflicts end up feeling a little improbable and manufactured and I just could not quite accept it all as one package.

Having said that this was still one of the most enjoyable dramas I've seen in a while - it's a great topic with a great cast (and a great soundtrack) and well worth your time if you're in the mood for something more thoughtful.

Most reviews of "A Late Quartet" are nonsense. Don't see this movie if you expect to better your understanding of Beethoven's last compositions. Don't see this film if you expect to listen to his Opus 131 uncut. Don't see this film if you have a hyper-sensitivity to melodrama. This film isn't in the least a melodrama even if, thank goodness, it is far less heady than anything Henry James or Jane Austen might have created.

What "A Late Quartet" is is a simple psychodrama that happens to deal with the lives of performing artists in New York, New York, a particularly artistic milieu. Are artists sometimes conflicted? Do they experience loss? Do they love? Do they debate whether instinct or methodical behavior yields the better result? Yes, yes, yes, and yes.

The story line is interesting enough, the acting is first-rate, the direction is tops from the top dog to the second assistant viola instructor of Ms. Keener. We liked the film, which was apparently a big-budget production. That's a shame, because, judging from the box office numbers, it may never cover its costs.

Go see it.