‘Quartet” isn’t a penetrating inquiry into aging. Who wants that? We all know the facts, so let’s not begrudge some fancy.
Taking place in a delightful home for retired professional musicians, “Quartet” amounts to a “Best Exotic Musical Hotel,” with superb actors facing the twilight years with open eyes and sparkly hearts. Maggie Smith (who was also in “Best Exotic Marigold Hotel”), Tom Courtenay, Pauline Collins and, especially, Billy Connolly give great pleasure as the title characters, ex-opera singers who are renowned for their performance, in their prime, of Verdi’s “Rigoletto.”
At the outset, as an imperious retired theater director (the leonine Michael Gambon) pushes all to do better, the residents of the aged musicians’ home plan to put on a variety benefit. Three of them are old friends: Sissy (Collins) has gone a bit daffy with age, Wilfred (Connolly) is an incurable lecher who is constantly proposing naked duets with the house doctor (Sheridan Smith), while the pensive Reggie (Courtenay) is trying to work out what this rap thing is all about. Tranquility is shaken by the arrival of someone billed thus: “as large as life and twice as terrifying.” Entrez, Dame Maggie!
Smith plays a world-class soprano who didn’t realize accepting this assisted-living deal would mean residing under the same roof as her ex-husband, Reggie, who is infuriated by her arrival.
That’s contrived enough (there seem to be only a few dozen seniors on the premises), and the film is far from honest about aging. Everyone seems in near-peak form — with Sissy’s little mental breakdowns more endearing than scary — and they look quite dapper with their canes and gray hair. Apparently retirement means continuous vigor until the day when an angel sweeps you away.
But then again: There’s no Hogwarts either, and if it’s a little difficult to imagine people in their 70s forgiving decades-old grudges after a quick stroll around the grounds, the message of always continuing to learn and grow is an attractive one. That this film was directed by a 75-year-old in his very first effort as a filmmaker — his name is Dustin Hoffman — makes it even more charming.
The Olympian cast brings off Ronald Harwood’s script (based on his play) with touching humanity and an engaging sense of play. No diva could possibly be more expert at beating someone with a sprig of flowers than Smith (and no one better at receiving same than Collins), while Courtenay’s soft wonderment at new developments is so quiet it’s enthralling. Connolly, whose larger-than-life acting style could have benefited from some thespian Slim-Fast in many of his roles, perfectly modulates his performance here, giving us a lively rascal who doesn’t demand our attention but skillfully pockets it away.
The line between honey and syrup is a fine one, I’ll grant you, but “Best Exotic Marigold” was on the wrong side of it. “Quartet” carries a noble glow, as serene and beautiful as sunset.