The last couple of decades in the career of Christopher
Walken can fairly be described as zany and screw-bally. Earlier this year,
Walken, in his dramatic (and sometimes comedic) role in SEVEN PSYCHOPATHS,
reminded us that he does have an Oscar on his shelf. Now, in the thick of Oscar
season, Walken fires another reminder at us with a full-on dramatic performance
in A LATE QUARTET.
A world-famous string quartet is heading into their 25th
season. It was founded by Peter (Walken) and Daniel (Mark Ivanir), and includes
Juliette (Catherine Keener) and her husband Robert (Phillip Seymour Hoffman).
As they begin to plan a new tour after some time off while Peter mourned the
death of his wife, Peter is then diagnosed with Parkinson’s, and decides that
he will leave the group if he cannot physically play any longer.
A LATE QUARTET sets itself up as a one-man’s journey movie,
seemingly ready to focus on Peter’s physical and emotional struggles as he
copes with his new, debilitating disease which threatens to destroy everything
he has worked so hard for. However, rookie director Yaron Zilberman keeps the
theme of a quartet in mind, and shows us the ripple effects of Peter’s
situation. Peter’s situation puts the group into drama usually seen in
rock-bands; packed tightly with betrayal, extra-marital affairs, trust issues
and the fear of an unknown future. What really works over and over is that each
action by the characters leads to another situation, and long-time annoyances
which have been simmering for years reach their boiling points.
Zilberman also keeps a musical theme cruising along just
underneath all of the drama. The film’s title derives from one of Beethoven’s
String Quartets (a piece of music the group struggles with playing throughout
the film), which is a long piece which is meant to be played without pause. As
one character explains, the instruments slowly go out of tune during the
playing of the piece and the musicians must make the adjustments as the
performance continues. The idea here is that the piece of music mirrors human
relationships and how we adjust, and when it is all over, we tune back to where
we need to be. It’s a bit of a heavy-handed metaphor, but it works.
The films performances are all outstanding, with everyone
getting plenty of screentime and opportunity to flex their muscles, but it all
belongs to Walken. He carries the pain and torment of a man near the end of
life as he has known it perfectly, and he conveys the physical changes his
disease brings along in heartbreaking and realistic ways. Catherine Keener and
Phillip Seymour-Hoffman (two more Oscar nominees/winners) are also at the top of their game, but the show is
nearly stolen by young Imogen Poots, who plays Juliette’s daughter who
eventually has a love affair with Daniel. Poots is an emotional ball of flame,
and shows that she has a very bright career ahead of her.
The third act sets itself up as a typical sports-film in the
vein of rise-fall-rise again, but then reels itself back and dips its toes in
reality for a bittersweet and proper ending. It overall shows its maturity with
its storytelling and especially its acting performances. Walken owns the movie,
but there is a lot more to enjoy in this quartet.
BOTTOM LINE: See it
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