While Quartet may be a lesser Merchant-Ivory film and is no Room with a View, Howard's End of Remains of the Day, it still has a lot to recommend it. It's not great and could have been better, but is decent.

Quartet for starters is beautifully made, as always the costumes and sets are amazingly sumptuous, is lit with a luminous atmosphere and shot with the usual exquisite charm. It's hauntingly scored too, and there is some intelligent scripting too that does have some poignancy and explores the contrast between upper class lifestyles and moral corruption suitably subtly. James Ivory directs with an appropriate amount of restraint, and there is some good acting here. Maggie Smith relishes her juicy character and her performance along with the production values is the best thing about the film. Anthony Higgins is sympathetic enough too.

Alan Bates' character could have been much better realised though, Bates succeeds in being charismatic but he is not intimidating or nuanced enough, Heidler is very one-dimensional and a character you feel nothing for from the get go. Isabelle Adjani is attractive but somewhat too cold and immature, which doesn't make the character's fear resonate. The dialogue is good here, but a better job could have been done with the characters, for they felt sketchily developed and their motivations rushed and unclear. Merchant and Ivory productions are always deliberately paced, but in their very best work the characters and their situations are really compelling and drive the story effectively, unfortunately because that was an aspect that Quartet was (for me) lacking in the pacing did feel a bit lagging and dull.

Overall, lesser Merchant-Ivory but a decent watch. 6/10 Bethany Cox

"Quartet" from 1981 takes place in Paris in 1927.

Marya Zelli (Isabelle Adjani) and her husband Stephan (Anthony Higgins) in Paris and seem very much in love. One night, Marya and Stephan are in a club and Marya is summoned over to the table of the Heidlers, Lois and E.J. (Maggie Smith and Alan Bates). Lois is a painter and wants the stunning Marya to pose for her.

Stephan is selling stolen art and is arrested and given a one-year sentence. Marya has no work visa. The Heidlers invite her to live in their spare room, which she does.

It turns out that Heidler marriage isn't what it seems to the outside world. The reality is that Lois sort of procures pretty young women for her husband so that he'll stick around. Lois continues to visit Stephan in prison. But once released, he will have to leave Paris, and he will be broke. She's stuck -- she can't possibly be attracted to E.J., who is homely, but then again, it's either that or she lives on the street.

This is a story we've seen before, as in Sister Carrie, where a woman in those days had very few options. It's actually based on a novel by Jean Rhys, which tells the story of her relationship with Ford Maddox Ford.

Hard to believe this is a Merchant-Ivory film, but there it is. The film moves slowly, and at 1:45, it's too long and the people who made the picture knew it - we are treated to no less than three nightclub acts, and they're not short.

The acting, of course, is fantastic, particularly from Maggie Smith, as a woman desperate to hold onto her husband at any cost. Why, we don't know, because they probably don't have much if any sex life. Alan Bates transforms himself into a homely, paunchy man and does an excellent job as a boring satyr.

Until she destroyed her face with fillers and heaven knows what else, Isabelle Adjani was, by a mile, one of the most beautiful women in the world. It's hard to believe her character couldn't find some rich guy to marry and was settling for her unpleasant situation at the Heidlers. In the dresses of the period, she is exquisite. Her acting is excellent -- you can feel her frustration, depression, and acquiescence. Anthony Higgins has the smallest role but is very effective.

The film turned out to be a flat experience. It's a shame because such talent could have been involved in a much more involving story.

In this Merchant Ivory production, you'll see lots of period costumes, pretty Parisian scenery, and fun hairstyles of the 1920s. You won't, however, get immersed in a quality story. Predictable at best, this pseudo-love triangle stars Maggie Smith, Alan Bates, and Isabelle Adjani. Maggie and Alan are a bored married couple; Maggie puts up with Alan's dalliances for some unknown reason. Stand by your man, low self-worth, or believing she deserves bad treatment - but when Alan takes a liking to Isabelle, Maggie supports his hobby. She invites Isabelle to move into their guest room.

Meantime, Isabelle's husband has been arrested. She visits him dutifully in prison, and as a "slow burn" that didn't actually burn, Alan watches his prey until the moment is right for him to make his move. While waiting, there's an excess of gratuitous nudity, nightclub singers that don't advance the plot as they sing song after song, and a casual attitude of the Paris society set. I really didn't enjoy this movie, and since no one I know would either, I can't really recommend it.

Kiddy Warning: Obviously, you have control over your own children. However, due to graphic nudity, I wouldn't let my kids watch it.