A Late Quartet Review

Director: Yaron Zilberman

Writers: Yaron Zilberman, Seth Grossman

Starring: Christopher Walken, Philip Seymour Hoffman, Catherine Keener, Mark Ivanir, Imogen Poots, Wallace Shawn, Liraz Charhi

Synopsis: A well-established string quartet begins to suffer some setbacks after one member is diagnosed with Parkinson’s and the others get mixed up in love and affairs.

Given the names on the film’s cast list there’s little chance of A Late Quartet being badly-acted. Whilst they’re not the best characters each actor has played, there is a flawless quality to their performance. Christopher Walken, who in the last ten years has often exaggerated his persona in comedy, is the star of this film. He isn’t given as much screen-time as the rest – and not nearly as much drama – but his arc is quietly melancholic which has a much more profound effect on the film’s emotion. One scene where he reflects on his life and his losses during a sombre piece of music powerfully reminds you that he is a deserved Oscar-winner and acting icon.

The three remaining quartet members are similarly fantastic, given story-lines to eat up in all their critically-acclaimed glory. You are constantly reminded of the need for cohesion in this type of group and so watching as they break apart is expectedly dramatic. Whilst Walken’s character poignantly ponders over his aging and disease, the other three wrestle with love and control in the ranks of their quartet. It is, as you imagine, a variety of tearful arguments, physical clashes and loud yelling. They all know how to deliver these moments with the exact amount of intensity and prowess, making A Late Quartet seem like a classic melodrama.

They all handle their characters wonderfully, making them seem as real as the actors’ practice with their chosen instruments. Only on occasionally do you see the film slipping into clichéd territory, and at these points you feel slightly cheated (as if Hollywood producers felt compelled to bring some familiarity to the floor). The film is a long, dialogue-heavy meditation on support and collapse but it feels mature in its ability to do that without too many truisms of the genre.

A deft exploration of relationships and life, coupled with the interesting focus on a tight quartet group, makes A Late Quartet very touching. Its focal point of the quartet and Beethoven’s elaborate Opus 131 will not make it a box-office behemoth, though for its chosen demographic it will certainly affect and entertain.

****

By Piers McCarthy. Also posted on LiveForFilms

Top 10 Interesting Male Voices in Cinema

Perhaps when flicking through channels it’s not so much a sight but a sound that grabs your attention; many times with actors such as the ones below you are attentive largely due to that voice. Here are ten of the most recognisable and interesting male voices in cinema:

10. Jeremy Irons – With a defining set of elocution skills and a gravelly voice, Irons blurs the idea of the seducer, the villain, and the intellect all with his lithe voice-box. 

9. James Earl Jones – Voicing two of the most iconic father-figures in cinema (spoiler alert), Darth Vader in Star Wars and Mufasa in The Lion King, Jones will always be remembered in cinema for lending his vocals to two hugely successful family films.

8. Sam Elliot – Maybe he chewed on coal through his teenage life, maybe his Adam’s apple was moulded in clay, but whatever happened to Sam Elliot’s voice it has worked wonders for the actor. Most famous for his part in The Big Lebowski as The Stranger, Elliot has a voice that you could listen to all day. He narrates parts of Lewbowski and one would wish he could narrate nearly every film.

7. Michael Caine – Wonderfully dissected by Rob Brydon and Steve Coogan on The Trip, the varying tones and tempos of Caine’s voice has, throughout the years, brought more class and worth to his career. One of Britain’s most celebrated actors and a shining national treasure – a legacy certainly aided by the familiar delivery of lines such as “You’re only supposed to blow the bloody doors off!”

6. Arnold Schwarzenegger – One of the most parodied and imitated voices in cinematic history, Arnie’s muscles weren’t the only thing that brought him to the attention of millions. Getting few lines in the classic Terminator, one made him the legend he is today – “I’ll be back” – spoken with intensity and malice, cementing his popularity.

5. Werner Herzog – Another Eastern European on the list that is arguably less well-known (though his role in the new Jack Reacher film may change that) but with one a hell of an intriguing voice. Never easy to impersonate but one you wish you could. Herzog’s wondrous, curious mind is perfectly matched by a voice that alters with every question and philosophy he adds to his documentaries’ narration.

4. Patrick Stewart – Admired by so many people, and enamoured by Seth McFarlane so much that Stewart has offered his voice-work for many episodes of Family Guy and American Dad, Stewart is another British legend that can raise the roof on a theatre, invigorate an entire cinema audience and entertain everyone around the TV by the power of his voice.

3. Jimmy Stewart – The affable, charming and funny actor of Hollywood’s Golden Years could strike a chord with his smile and his jovial voice. The voice captures your attention; nuances of the stammers and drawl immortalise the personality of Stewart.

2. Morgan Freeman – A man with the ability to read the phone book and still keep you fascinated and emotional with every entry read out. Morgan Freeman has the perfect voice and it’s no wonder that he is asked to narrate an array of films and documentaries – you want to hear the man wax lyrical for hours on end.

1. Christopher Walken – The man with the most insane and entertaining voice around. The wacky, altering patterns in Walken’s dialogue cannot be found with any other actor. He appears menacing and confused all at the same time – his voice appears just as discomforting but nothing you cannot turn your attention away from.

Notable mentions: Jeff Bridges, Jeff Goldblum, Seth McFarlane, Ian McKellen, John Wayne, Tom Hanks, Patrick Warbuton, William Shatner, Jack Nicholson, Tommy Lee Jones, Willem Dafoe, Alan Rickman, Peter O'Toole

By Piers McCarthy. Also posted on Top10Films

LFF: Seven Psychopaths Review

Director/Writer: Martin McDonagh

Starring: Colin Farrell, Sam Rockwell, Christopher Walken, Woody Harrelson, Tom Waits, Abbie Cornish, Harry Dean Stanton, Olga Kurylenko, Linda Bright Clay

Plot: Martin (Farrell) is an alcoholic screenwriter whose latest idea for film called “Seven Psychopaths” is lacking inspiration. His friend Billy (Rockwell) tries to lend a hand but instead gets him involved in a kidnapping, murder and the company of psychopaths. Suddenly Marty’s story starts gaining some frighteningly real inspiration...

Martin McDonagh’s knack for dialogue has served him well with retaining an audience. It is clear that since In Bruges, he has become a man people desperately want to work with. Cut to Seven Psychopaths four years after In Bruges and that notion has been substantiated with an all-star cast including Christopher Walken, Woody Harrelson, Sam Rockwell and Colin Farrell. Along with a spectacular cast, McDonagh has moved over to the seemingly glamorous turf of Hollywood, California. His success is well-earned and with his second directorial feature McDonagh looks to become the new celebrated screenwriter.

Brimming with ideas, Seven Psychopaths is not your average popcorn movie. Instead, McDonagh crafts a wildly irreverent black-comedy that proves to be a successful pastiche of the Coen brothers, Quentin Tarantino and Charlie Kaufman’s style. There is originality within his script and whilst some may find his muses scattered knowingly throughout the film, McDonagh highlights his own uniqueness. Inane chit-chat of a Seinfeldian sort is nothing new but the brazen way in which McDonagh uses it is. For instance, Rockwell’s Billy constantly speaks of trivial and clandestine affairs as if secrecy is a fabled idea – regularly mentioning his illegal activity or maniacal alter-ego as if no one would worry. The same strange openness is also reflect in the criminal activity with characters sporting guns in public or discussing murders with total disregard for discretion.

In Bruges handled refinement in the same way, by throwing it out the window. It makes the films wildly fun and memorable. We are privy to an alternate way of life where people say and do what they feel. The most appealing characters are the ones who flaunt their frankness (such as Rockwell, who outshines everybody in this film) and the opposing conventional ones (like Farrell) who are of less interest. McDonagh tries not to sour the film with too much normality, even though it understandably needs to stay grounded from time to time, and gladly adds a torrent of violence and chaos to keep the momentum running.

The narrative is relatively linear but interruptions in the story are superfluous at points. The presentation of the seven psychopaths is not always etched into the story neatly, leading to moments of messy punctuation. This issue is partly a result of the self-reflexive arc that some may find too smart for its own good. McDonagh wryly makes you aware of the issues in the screenplay but this can be a dangerous artistic move. Trying to laugh off the inconsistencies does not negate them completely. Nevertheless, it is a film attempting to bring some ingenuity to the art form and that should be embraced.

Watching Seven Psychopaths is a hugely fun experience that boasts hilarious set-pieces and dialogue, along with an astounding ensemble of actors giving it their all to a project that is clearly exciting and entertaining them as much as it is the audience. McDonagh packs the film full of energy and moments of uproarious comedy, giving you incentive to watch it again and again. Problems do occur in the film such as ideas that may have looked good on the page but barely work in practice, and an ironic tone that sometimes appears aloof. Despite this though, McDonagh’s remarkable drive to pull it off makes it a greatly commendable and magnetic film.

****

By Piers McCarthy. Also posted on LiveForFilms