Star of some of the most radical and trail-blazing films of the '60s, '70s and '80s – and still a bankable character actor throughout the '90s and noughties – Dustin Hoffman finally turns his hand to directing with this adaptation of a Ronald Harwood play. Quartet is an unusual choice of material for Hoffman to tackle as his behind-the-cameras debut. The story could hardly be more 'British' if it tried, but it's a credit to the American director that he manages to handle it with the sort of quaint, quiet restraint that seems to be reserved mainly for European film-makers. It's a very minor and inconsequential film for sure – your life won't be any worse off if you don't see it – but it's amusing, well-acted and entertaining enough to satisfy those who do give it a look.
Beecham House is a grand retirement home for elderly and infirm musicians, run by a sweet-natured young manageress Dr Cogan (Sheridan Smith). Year upon year, the home faces potential closure unless extra funding can be raised so an annual tradition exists wherein the elderly musicians use their expertise to produce a gala show, an evening of top-notch song and dance, to pull in some much-needed cash. The show is directed by Cedric Livingstone (Michael Gambon), a permanently grumpy and sharp-tongued old curmudgeon who makes Simon Cowell look like Joe Pasquale. This year, Cedric's moodiness may for once be justified, as a combination of reluctance and illness forces many of his star turns to drop out of the gala. Three residents of the home – Reg (Tom Courtenay), Cissy (Pauline Collins) and Wilf (Billy Connolly) – were once part of Britain's greatest operatic quartet. When their fourth member, the fearsome diva Jean Horton (Maggie Smith), is admitted to the home, Cedric hits upon the idea of reuniting them to perform their world-famous, celebrated version of Rigoletto. It sounds a good plan – a surefire money-spinner – but first there are a few issues to be ironed out. Things like Jean's resolutely stubborn determination to never perform again, or the fact that she and Reg used to be married and can now barely stand the sight of each other.
For a film as stagy as this to have a chance (it is based on a play, after all), it requires sterling work from its actors. Here, Hoffman gets uniformly excellent performances from them all. The seasoned old pros – Gambon, Courtenay, Smith, Collins and Connolly – make it look easy. Young Sheridan Smith (better known until now as a supporting player in TV sitcoms like Two Pints Of Lager And A Packet Of Crisps, Gavin & Stacey and Benidorm) gets to show a lot more range for a change, and is surprisingly effective as the head of the home. On this evidence, we will be seeing plenty more of her. Take away the performances and there's not a lot left. The story itself is serviceable but very slight, and all those behind-the-scenes components that go into the making of a film – the photography, the music, the editing, the costume and production design, etc. etc. – are done with a sort of quiet, unintrusive professionalism. Quartet is light, slight, charming viewing. Come 2019, will it be appearing on lists of the essential movies of the decade? No. But within its parameters, it's a perfectly acceptable and enjoyable way to while away 98 minutes.
Beecham House is a grand retirement home for elderly and infirm musicians, run by a sweet-natured young manageress Dr Cogan (Sheridan Smith). Year upon year, the home faces potential closure unless extra funding can be raised so an annual tradition exists wherein the elderly musicians use their expertise to produce a gala show, an evening of top-notch song and dance, to pull in some much-needed cash. The show is directed by Cedric Livingstone (Michael Gambon), a permanently grumpy and sharp-tongued old curmudgeon who makes Simon Cowell look like Joe Pasquale. This year, Cedric's moodiness may for once be justified, as a combination of reluctance and illness forces many of his star turns to drop out of the gala. Three residents of the home – Reg (Tom Courtenay), Cissy (Pauline Collins) and Wilf (Billy Connolly) – were once part of Britain's greatest operatic quartet. When their fourth member, the fearsome diva Jean Horton (Maggie Smith), is admitted to the home, Cedric hits upon the idea of reuniting them to perform their world-famous, celebrated version of Rigoletto. It sounds a good plan – a surefire money-spinner – but first there are a few issues to be ironed out. Things like Jean's resolutely stubborn determination to never perform again, or the fact that she and Reg used to be married and can now barely stand the sight of each other.
For a film as stagy as this to have a chance (it is based on a play, after all), it requires sterling work from its actors. Here, Hoffman gets uniformly excellent performances from them all. The seasoned old pros – Gambon, Courtenay, Smith, Collins and Connolly – make it look easy. Young Sheridan Smith (better known until now as a supporting player in TV sitcoms like Two Pints Of Lager And A Packet Of Crisps, Gavin & Stacey and Benidorm) gets to show a lot more range for a change, and is surprisingly effective as the head of the home. On this evidence, we will be seeing plenty more of her. Take away the performances and there's not a lot left. The story itself is serviceable but very slight, and all those behind-the-scenes components that go into the making of a film – the photography, the music, the editing, the costume and production design, etc. etc. – are done with a sort of quiet, unintrusive professionalism. Quartet is light, slight, charming viewing. Come 2019, will it be appearing on lists of the essential movies of the decade? No. But within its parameters, it's a perfectly acceptable and enjoyable way to while away 98 minutes.