Extra-marital affairs, jealousy, betrayal,
resentment – all set in the world of classical music. A Late Quartet has relationships and emotional punch ups as
tumultuous as the Beethoven the four-piece quartet perform. The frenetic pace
of Beethoven is certainly represented in the film but so too is the
heart-rendering beauty and tenderness.
The plot is limited but packed with
character and emotion. ‘The Fugue’ is a four piece string quartet comprised of
cellist Peter (Christopher Walken), violist Juliette and first and second
violinist Daniel (Mark Ivanir) and Robert (Philip Seymour Hoffmen). The group
are approaching their 25th anniversary but are faced with difficult
and potentially devastating decisions when Peter announces he must leave the
group after being diagnosed with Parkinson’s disease. The rest of the group
must decide whether to continue or go their separate ways while dealing with
pent up feelings of resentment, longing and jealousy. The married couple of the
group Robert and Juliette also face a crisis in their marriage as well as
dealing with a rebellious daughter (Imogen Poots) who has embarked upon an
affair with Daniel.
The screenplay is packed with dramatic
conflict and leads to wonderful performances from all the actors. This is the
type of movie you would expect to be a forgotten gem from the 70’s as its
simple and understated plot. Christopher Walken gives the performance that he
is capable of but seems to shy away from as of late. There is no self mockery
or flippancy with his portrayal of a career musician faced with the prospect of
hanging up the string bow – for good. Walken’s latest performances (like in Seven Psychopaths) are centred around
the almost mythical cult following The
Deer Hunter actor has amassed over the years. His performance as Peter has
no traces of quirk or irreverent self-awareness but is the stuff Oscar
nominations are made of. His quiet yet shattered acceptance of his disease and
the plight of retiring is all expressed through limited dialogue and quiet
expression – and is utterly poignant.
Philip Seymour Hoffman also gives a
riveting performance. Robert is a character at an impasse in his career and in
life. He sees the dissolution of the quartet as a chance to break free from the
background and realise his potential. His scenes with Keener are electric and
have such a brutal honesty that show ‘this is really forty’. One in scene in the back of a taxi cab shows
Hoffman’s incredible internal processing of a devastating revelation from his
wife. The couple must face the resentments and harboured emotions while dealing
with their rebellious young daughter who also has sequestered feelings towards
her parents.
A
Late Quartet is a masterful blend of great performances
and quiet intensity. The issues amongst the characters feel very real despite
being set in the very socially exclusive world of classical musicians. First time director Yaron Zilberman (who also
co-wrote the script) carefully balances melodrama with honest and touching
familial dysfunction. The relationship between Juliette’s and Robert’s daughter
Alexandra and Daniel does feel more akin to soap opera plot but is saved from
ridicule by the thoughtful and charming performances of Ivanir and Imogen
Poots. Ivanir’s Daniel, despite being 20 years older than Alex, is imbued with
a professional and artistic intensity that aspiring violinist Alexandra is
helplessly allured to. Poots also shines in scenes with Keener where issues of
abandonment lead to bitter arguments.
The film has such wonderful and compelling
performances there is a risk that the talent of Zilberman will be over looked. A Late Quartet is such a triumph because
of the characters drawn by the screenplay and the thoughtful execution of the
performances. Zilberman allows his superb cast to give superb portrayals and
gives us one of the most touching and endearing films of the year.
4/5
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