laughing one scene and then the next scene you just realized that the 'thumb up' from one old man to the next gives chills on how life can end at any moment and at any time.Dustin Hoffman, my man, you have made many people, many seniors of this country really happy, you have done what most always want but never will.Thank You, to the cast and to the crew!!!!!

age! With such a great ensemble cast we are well-served, though for me, Pauline Collins was a stand-out - funny and so touching. I think I'd like to see it again.

part I've seen him play: ribald, mischievous and large-hearted; the shameless jokester and flirt you nonetheless know you can always depend on. Courtenay is heart-rendingly endearing from the start, in the most quiet, under-stated way. Maggie Smith shows far more range than her now- stock Grande Dame parts usually allow her, including an unaccustomed vulnerability and a charming exercise, at one moment, of calculated yet shy girlish charm.As one would expect from a director who is a great actor himself, the palette of characters here is vividly and colorfully incarnated by actors who are often memorable even in the most minor parts.The music is both respectfully and affectionately integrated throughout, moving from noble classical pieces to a cheerful bit of music hall. And is paid a surprising homage in the credits, which continue the film's nod to age and accomplishment well past its not very surprising but still satisfying end.Very few viewers, by the way, will sense the echos here - but no more - of a lovely French film from 1935 about a retirement home for actors: "La Fin du Jour":http://www.imdb.com/title/tt0031309/combinedRonald Harwood "The Pianist", "The Diving Bell and the Butterfly", etc tells a very different story, but anyone who enjoys this one and understands enough French should certainly seek out the older film with the great Michel Simon .

estate and turned it into a world of music filled with well-drawn and compelling characters: the woman with advancing dementia who relishes the CD of her performing Rigoletto 40 years ago; the flirtatious Wilf, whose "advances" towards the women on staff are never offensive and always charming; the aging diva - the always wonderful Maggie Smith - who is horrified by the thought that by moving in her life is over.The best drawn and in my mind, played character is Wilf's best friend Reggie, who doesn't get Wilf's preferential treatment but has a quiet dignity and love of his life and his art that quietly shines through. His scene teaching students by comparing opera and rap may be this film's best. Reggie is played by one of the most underrated and powerful British actors of his time, the estimable Tom Courtenay. It's hard to believe it's been 50 years since he starred as a 25-year-old in The Loneliness of the Long-Distance Runner. In a performance of grace, nuance, and elegance, Courtenay outshines even Maggie Smith. Perhaps he's inspired by working again from a Harwood screenplay; it was Harwood who wrote The Dresser, an excellent 1983 vehicle for Courtenay and Albert Finney.One more note: Finney was apparently supposed to play the Wilf role, but unfortunately was not up to it health-wise. But comedian Billy Connolly's performance is just splendid.See this movie!

into this relatively calm environment comes one woman--one woman whose presence upsets everything. This diva Maggie Smith is completely self-absorbed but what's worse, she's the ex-wife of one of the people who planned on performing at this event. Much of the film is a character study of this woman as well as the influence she has on everyone. Much of the film also is a study of life for the aging--their ups and downs.While this plot is quite simple, the film manages to work very well because the acting is so darned nice. The four leads from the quartet, Smith, Tom Courtnay, Billy Connolly and Pauline Collins are just marvelous. Much of this is due to their fine acting and the writing and much must be the result of the direction by first-time director Dustin Hoffman yes, THAT one . He seemed to have a real deft eye. Plus, the music really helped--both seeing operatic songs sung by actual retired opera stars and the incidental music. I don't even like opera but found myself pulled into the story by the music. Well done all around and a film for folks willing to fore go explosions and high drama for excellent acting and an enjoyable story.

whilst somehow making you believe they could if they had to. The location was breathtakingly beautiful; the camera-work was perfect. I especially liked the nice touch during the end credits when we saw the old photographs and professional history of the real musicians who played residents of the home. I shall be going to see this film again.

that her memory is failing. Her old stage partner Wilfred is the resident naughty man of the home played by Billy Connolly in his familiar raucous way. Wilfred delights in flirting outrageously with all the women and needling Cedric. The more sedate Reg played by Tom Courtenay came to the home to check on Wilf who had been admitted after a slight stroke. Here Reg found his niche in caring for his friends and holding classes for young people.Into this garden spot comes a new resident, a noted opera star played by Maggie Smith. Jean is known to all and her appearance is less than appreciated by her former husband Reg. Her arrival shakes up his whole existence. There is also another "star" in residence brilliantly cast with Dame Gweneth Jones. The dagger-like looks that flash between the two divas, when the term meant more than demanding behavior, is worth the price of admission.Jean's adjustment to the retirement home and a crisis with the annual gala are the concerns of the present. Reg's torment over the presence of his lost love makes old wounds fresh. Life is definitely not retiring in this home because, as Cissy is fond of quoting Bette Davis' remark, "old age is not for sissies".Director Hoffman gives us many quiet moments to observe the entire ensemble as life swirls around the preparations for the all-important concert. We get to know the patient piano teacher/accompanist, the old song and dance men, the lifelong choristers, the pit musicians and the staff of the home, along with our "quartet". I laughed, I cried, I laughed again, and I cared. Highly recommended.

Bill Connolly is a wee bit over the top here, though a delight to watch as well. This is a beautiful story, told by many talented actors and it deserves to be seen. Brava!

Beecham House a Retirment Home for Singers and Musicians. Not good enough, Ronnie old son, you really should do better. Even Coward was 'borrowing' in 1960 because in 1939 Julien Duvivier directed a great movie entitled La Fin du jour set in a Retirement Home for Actors and, what is more, a home in danger of closing for lack of funds as is Harewood's Beecham House . That to one side Quartet remains a fine film, first time director Dustin Hoffman clearly knows when to shout 'Action' and when to shout 'Cut' and manage to fill the space in between the two with interesting compositions and dialogue. The supporting players are first rate, of the four leads Billy Connolly tries a tad too hard to portray the outrageous but lovable-with-it rogue; it's almost there but alas, Connolly doesn't do 'charm', an essential ingredient. Maggie Smith phones in her Downton Abbey persona, Pauline Collins is adequate but leaving them all for dead is Tom Courtenay, who can and does say more when he says nothing than all the other three principals in full spate. This is the second time Mr. Courtenay has moved me to tears - and this is an actor I can take or leave who, in the past, I have admired rather than warmed to - the first time was in the book he wrote about his mother and now in this, one of the finest performances I have seen him give on stage or screen. If there is one reason for seeing this film, and there are several, it is Tom Courtenay.