Fine performances enliven a moving drama about a group of classical musicians whose uneasy harmony is put at risk by illness
Musical groups, coming together, working harmoniously, splitting up, reuniting, provide one of the great metaphors for human activity. In the cinema we encounter them in such different forms as the real-life bandleaders Jimmy and Tommy Dorsey feuding and going their different ways in The Fabulous Dorseys; Bing Crosby's inner-city priest reforming delinquents as a choir in Going My Way; Fellini's allegorical Orchestra Rehearsal presenting Italy as a musical rabble that can only function when submitting to a firm conductor; or Dustin Hoffman's recent Quartet, which sees elderly singers burying old differences to recreate their celebrated quartet from Rigoletto.
A Late Quartet, written and directed by the American documentarian Yaron Silberman, is a major contribution to this continuing cycle. A subtle, intelligent picture with a suitably resonant title,...
Musical groups, coming together, working harmoniously, splitting up, reuniting, provide one of the great metaphors for human activity. In the cinema we encounter them in such different forms as the real-life bandleaders Jimmy and Tommy Dorsey feuding and going their different ways in The Fabulous Dorseys; Bing Crosby's inner-city priest reforming delinquents as a choir in Going My Way; Fellini's allegorical Orchestra Rehearsal presenting Italy as a musical rabble that can only function when submitting to a firm conductor; or Dustin Hoffman's recent Quartet, which sees elderly singers burying old differences to recreate their celebrated quartet from Rigoletto.
A Late Quartet, written and directed by the American documentarian Yaron Silberman, is a major contribution to this continuing cycle. A subtle, intelligent picture with a suitably resonant title,...
- 4/8/2013
- by Philip French
- The Guardian - Film News
Fine performances enliven a moving drama about a group of classical musicians whose uneasy harmony is put at risk by illness
Musical groups, coming together, working harmoniously, splitting up, reuniting, provide one of the great metaphors for human activity. In the cinema we encounter them in such different forms as the real-life bandleaders Jimmy and Tommy Dorsey feuding and going their different ways in The Fabulous Dorseys; Bing Crosby's inner-city priest reforming delinquents as a choir in Going My Way; Fellini's allegorical Orchestra Rehearsal presenting Italy as a musical rabble that can only function when submitting to a firm conductor; or Dustin Hoffman's recent Quartet, which sees elderly singers burying old differences to recreate their celebrated quartet from Rigoletto.
Continue reading...
Musical groups, coming together, working harmoniously, splitting up, reuniting, provide one of the great metaphors for human activity. In the cinema we encounter them in such different forms as the real-life bandleaders Jimmy and Tommy Dorsey feuding and going their different ways in The Fabulous Dorseys; Bing Crosby's inner-city priest reforming delinquents as a choir in Going My Way; Fellini's allegorical Orchestra Rehearsal presenting Italy as a musical rabble that can only function when submitting to a firm conductor; or Dustin Hoffman's recent Quartet, which sees elderly singers burying old differences to recreate their celebrated quartet from Rigoletto.
Continue reading...
- 4/6/2013
- by Philip French
- The Guardian - Film News
Departures
Many viewers would be touched by the tale of an aspiring cellist, who accidentally becomes a mortician (an undertaker or a funeral director, to some) when he loses his dream job with a symphony orchestra. Many would even be stupefied by the ingenuity of the filmmakers to pick up a seemingly unique subject such as “encoffinment” as a subject for a feature film. Many others would be in awe of the Asian traditions that respect the dead, the elderly, and the institution of marriage until (and beyond!) “death do us part”. Many others would be equally intrigued by the Asian traditions that consider associating any profession relating to the dead as being somewhat demeaning and not worthy of public stature.
Director Yojiro Takita’s film is loosely based on Aoki Shinmon’s autobiographical book The Coffin Man, which was subsequently adapted for the screen by the scriptwriter Kundo Koyama.
Many viewers would be touched by the tale of an aspiring cellist, who accidentally becomes a mortician (an undertaker or a funeral director, to some) when he loses his dream job with a symphony orchestra. Many would even be stupefied by the ingenuity of the filmmakers to pick up a seemingly unique subject such as “encoffinment” as a subject for a feature film. Many others would be in awe of the Asian traditions that respect the dead, the elderly, and the institution of marriage until (and beyond!) “death do us part”. Many others would be equally intrigued by the Asian traditions that consider associating any profession relating to the dead as being somewhat demeaning and not worthy of public stature.
Director Yojiro Takita’s film is loosely based on Aoki Shinmon’s autobiographical book The Coffin Man, which was subsequently adapted for the screen by the scriptwriter Kundo Koyama.
- 4/17/2010
- by Jugu Abraham
- DearCinema.com
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