To set a film in a country manor that houses retired musicians is such an utterly charming idea that Quartet need barely have delivered a story for it to be thoroughly enjoyable. The English countryside, the pristine decor, and lashings of classical music ensure that the eyes and ears are well cared for before the business of a plot is even considered. Yet Quartet proceeds with a story that ticks all the boxes any satisfying story does.
The story, then, is quite formulaic. The telling of it, though, is such a delight that I was more than happy to go along with things, then quite unexpectedly I found I was emotionally invested in the plights of our core cast. Of the four title roles, Billy Connolly and Pauline Collins provide the film with heart, while Maggie Smith and Tom Courtenay provide the drama and romance. They perform ably, but all of my favourite moments were owned by Collins. Her sweetness and innocence are used to great comic effect, while her relentless enthusiasm for reliving the past gives greater poignancy to one of the film's more affecting moments, when we see her past haunt her.
Like any great piece of music balances lightness with strength, heart with structure, and earns its climaxes - so too does Quartet deftly blend humour with drama, and tenderness with tension.
Special mentions to:
- Sheridan Smith for claiming centre of attention whenever she is on screen - her freshness acts as a palette cleanser between courses of aged wines and mature cheeses.
- Whoever assembled Michael Gambon's wardrobe.
- This song.
See this film if you appreciate quaint scenery, opera (only the more popular pieces), and making light of the aging process.
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