Great Film overall

Excellent but underrated film

Did you people see the same film I saw?

Boring

It was not an easy film to watch, but watch it, I did. I did because I read Rhys in the 60s, and the book that drove this film among them. It does follow that story, but perhaps as other reviewers noted translating the novel to the screen was too much, too soon, or too literal. Smith carries the film, while Bates and Adjani appear overly dramatic and disconnected as lovers. The desperation of Marya (Adjani) is somewhat trivialized, while the Paris in which the story unfolds is nearly glorified but presented exactly how I image it in the 20s & 30s. Marya, while not literally Jean Rhys herself, is a reasonable facsimile and her doomed relationship with her first husband, and Ford Madox Ford became the basis of Quartet. In thinking about how the story plays out I remember how vulnerable and lost the author was and how much of herself she stuffed into her writing. But in that writing was a subtlety that did not translate onto the screen.I gave it perhaps too high a vote, but it gets this 7 for its Ivory-Merchant treatment of painterly beauty which I always admire.

Few screenwriters have ever jumped the gap that Jhabvala traversed between THE EUROPEANS (1979) and QUARTET (1981). I know of no other film that captures as well the sense of European pre-WW2 'decadence' (compare CABARET for an object lesson in failure!), or that is directed and photographed with stronger integration of the settings, colours, sounds and behavior within the story being told. A remarkable achievement - the film that put filmmakers on notice about how well the remarkable Jhabvala/Ivory/Merchant trio present stories locked into their space and time.

It's hard to say exactly why "Quartet" fails. There are certainly some good things to be said; Maggie Smith gives her character just the right mix of not-too-subtle cynicism and self-loathing, and the photography by Pierre Lhomme does a fine job of complementing the surroundings. But there is something missing. The Merchant-Ivory-Jhabvala trio have always invested their stories with a strong compassion for their characters, lending a quiet urgency to the tone. Yet there is little of that feeling here. The desperation of Isabelle Adjani's Marya simply does not ring clear, perhaps because her emotions are kept at a distance from the viewer when they should be brought to the forefront of the story. Marya views Heidler (Alan Bates) as a dominating force, but her fears and his intimidation never develop into anything effective. Bates is an actor who can always be depended on to provide a good performance, but his character is not given enough weight to dominate the screen when he should. In films such as `Howards End' and `The Remains of the Day,' the emotional conflicts between the characters drive the story and keep the (attentive) viewer involved; here, the conflicts do not spurn enough interest because the motivations of those involved are not very clear. The overall effect of "Quartet" is very cold and somber, with few, if any, memorable results.

That this was seen on a first visit to Paris at the Pathe Hautefeuille in the 6th may color the memory, but there it is. The sad Woolcott figure played by Bates is desperate (as is his Maggie Smith [BRILLIANT!] wife, a sad and cynical lady) and has an eye for new flesh. (This is pure Noel Harrison (Rex's boy) "new flesh to carve," as in his Young Girl cut.) The Woolcottioan figure is paunchy, unattractive, hungry, but with some social clout, and skincrawling. Maggie's character aids and abets. What's her line? One wonders if the satyr is in fact impotent. Cinematography, music, story line, cast...over reasonable expectations. Desperate story from a sad and deserate writer, Rhys, a suicide, I seem to recall. Ivory did this? Harder than the usual soft stuff the boyos do. Wondeful. Buy it.