3/5 stars
Quartet, Dustin Hoffman’s maiden directorial venture, is one of those films that invites the audience to think about the more important things in life. Set in Beecham House, an old age home for accomplished musicians, it showcases a range of characters that are clichéd albeit endearing, funny and pompous, by turn, but above all, entirely and wonderfully human. The story unwraps itself in what is an ordinary morning for the residents who “remember recordings but not what they ate for breakfast”. Daily rituals are on in full swing whether in the form of playing the piano or practising in falsetto. But there is a very real fear, that of the home shutting down, for which the residents are in full preparation of putting on an opera gala concert. Michael Gambon is in charge, perfect as the credit-taking, bossy, overbearing ‘director’ Cedric. Amongst the residents are Wilf (Billy Connolly) who is the very picture of a genial old man interested in wooing the ladies, age no barrier, Cissy (Pauline Collins), forgetful, pushy but goodhearted, the brooding and gallant Reggie (Tom Courtenay) who teaches school kids about opera and takes an interest in rap and prima donna Ann (soprano Dame Gwyneth Jones). Enter Jean Horton (Maggie Smith), once a world famous opera star, much to the furor of Reggie who happens to be her ex-husband who still harbours romantic feelings for her. They rebuild their relationship led by Smith’s Jean who exhibits a vulnerable, sensitive side, in contrast to her previous ambitious self. But the ex-star’s tantrums are reignited when she is requested to reunite with Reggie, Wilf and Cissy to perform as the quartet that they once were. Even a hitting-where-it-hurts kind of speech by Wilf refuses to budge her will, staunchly retired out of a fear of scarring memories of performances that occasioned “never less than twelve curtain calls”. But of course, she sings.
Based on a play by Ronald Harwood (who is also responsible for the screenplay), Quartet comes across as a predictable story, set apart by its very simplicity and clever, poignant humour delivered by an experienced cast. The most memorable scenes are the ones that offer a slice of life. In fact, what is wonderful about movies such as this one and The Best Exotic Marigold Hotel is the positivity and inspiration that it infuses the watchers with. Cedric is exposed amidst a self-indulgent manicure session, and a little girl asks Jean, “What’s your name again?” Wilf half jokingly tempting the doctor in charge, Lucy (Sheridan Smith) with “older men, vintage wine, seasoned wood” conjured laughs from all corners of the theatre, while a personal favourite moment remained the subtle overture accompanying the actor zipping down on a stair lift. Smith proves again that delivering patronizing lines is an art, and it’s hard to keep a straight face when she rants at Reggie, “I’m going to say something very rude to you…F*ck you!”
“Why do we have to get old?” asks Jean, to which Reggie responds-“That’s what people do”. Hoffman, 75, has successfully implemented the ensemble cast formula to derive a film that touches a sensitive topic, the inevitability of old age and finally death, without sensationalizing either. The residents of the home being introduced through photographs of their youth and present day alongside accomplishments during the end credits is a charming touch and reveals a list of veterans such as Andrew Sachs (who played the part of Manuel in Fawlty Towers, 1975-’79), Trevor Peacock (who acted as Petruchio in Young Vic Theatre’s 1971 production of The Taming Of The Shrew) and Cynthia Morey (who essayed the role of Yum Yum in Gilbert & Sullivan’s The Mikado in 1955), amongst others. Watch Quartet and understand that we are all bound by the same rules, and the lighter moments in life are what count at the end of the day, or our lives.
Ranjabati Das