A String of Discordant Notes in 'A Late Quartet'

"A Late Quartet" is interesting on several levels.

It has going for it its musical aspect. European classical music along the lines of Beethoven’s arduous Opus 131. A glimpse into the process and interior lives of the players in the form of top musicians who probably studied at the Julliards, Berklees and Oberlins of the world. New York is apt as the setting of this rarefied milieu in that it is one of the world’s most superlative cities, home to the highest of high culture and the lowest of low culture.

Hanging in the air like a resounding note, threatening the demise of the fictional Fugue String Quartet, is the medical diagnosis at the center of “A Late Quartet.” If the diagnosis won’t be the foursome's undoing though, surely it will be the drama surrounding these very fine, refined folk, for it descends to the level of reality TV, albeit without a surfeit of cussing and coarseness. (See video above.)

A few examples: Second violinist gives first violinist to know that the former wants the position of the latter; voila-playing wife of second violinist believes her spouse is being an utter ass and tells him, employing very civilized tones to do so; outraged, second violinist has an extramarital affair; first violinist – for lack of anything better to do? – begins sleeping with the daughter of second violinist and viola player. It’s all handled with dignity, as these thing go.

Reality TV – particularly the variety that features wives, ex-wives, mistresses, shorties and others of their ilk – could borrow a page from “A Late Quartet” on how to depict misbehavior on a colossal level without casting anyone in the role of the most bilious buffoon in doing so. The independent film opens in New York and Los Angeles today. Also opening in the United States today after its world premiere at the 50th New York Film Festival is "Flight." The film stars Denzel Washington as a pilot who safely lands a plane only to have questioned some of his actions before that fateful event. (http://www.bitly.com/QDFpvk)

Meanwhile, perhaps these characters in "A Late Quartet) can pull off petulance with aplomb because they are played by real acting talent. Christopher Walken is quartet leader and cellist Peter who has been diagnosed with a debilitating disease; he tends to stay out of the fray. As Peter, the actor proves that he can play subtlety as well as insanity when the role calls for it as this one clearly does, while in “Seven Psychopaths” the role of Hans and countless others he has undertaken clearly do not.

Philip Seymour Hoffman (second violinist Robert) is fresh off a masterful performance in “The Master” (http://www.bit.ly/R0yhx7). For his part, he has not hit a false note, dating to “Capote.” Rounding out the major players in “A Late Quartet” are Catherine Keener (viola player Juliette), Wallace Shawn (first violinist Gideon) and Imogen Poots (Alexandra, daughter of Robert and Juliette).

Catherine Keener and Wallace Shawn as half of the team in “A Late Quartet.” Photo from WestEnd Films.

It’s a pity that “A Late Quartet,” directed by Yaron Zilberman and based on a story of this music lover, won’t make it to many of the metroplexes. Alas, it is more of an arthouse film.

It is not nearly often enough that intelligent films such as "A Late Quartet – the melodrama, not withstanding – reach the masses in the United States, huge consumers of reality TV. The masses could also benefit by its example.

“A Late Quartet” is rated R for language and some sexuality. Visit
http://www.westendfilms.com/films/current/late-quartet to learn more about “A Late Quartet.

Sheep Rebels Against Shepherd in 'The Master'

LANCASTER Dodd is a charismatic leader of a pseudo-religious sect in 1950s America and Freddie Quell is his almost-disciple.

Philip Seymour Hoffman and Joaquin Phoenix deliver masterful performances as the two unlikely allies-turned-enemies in “The Master.” The film was written, directed and co-produced by Paul Thomas Anderson. (See trailer above.)

Fresh off of its well-received world premiere at the 69th Venice International Film Festival, “The Master” makes it North America debut today in select theaters. (Check local listings for showtimes.)

Also in main roles in the stellar cast are Amy Adams and Laura Dern.

“The Master” is rated R.

Dirty Sexy Rotten Politics in 'The Ides of March'

THE timing of the release of “The Ides of March” could not possibly be a coincidence.

Adapted from the Beau Willimon play, Farragut North, the film opens in the United States today after making its North American debut at the 2011 Toronto International Film Festival. It had its world premiere at the 68th Venice International Film Festival, where it won the Brian Prize.

“The Ides of March” more or less chronicles the political baptism of idealistic, young campaign manager Stephen Myers (Ryan Gosling). Stephen works for presidential hopeful Mike Morris (George Clooney), is fired and then rehired with a promotion after he learns and applies the tricks of this dirty trade to his advantage.

Underway amid the staffing snafus during a very competitive Ohio presidential primary is the usual political horseplay: backroom deals, backstabbing, blackmail, blackmail in reverse, betrayal, leaks, lies, damn lies and a death – political or otherwise.

No doubt distributor, Sony Pictures Entertainment, is betting that audiences won’t be too disgusted with the current little horse-and-pony show on the road – the one known as the runup to the Republican presidential nomination – to pony up $10-plus for its little attraction. (How many more skeletons are rattling in Rick Perry’s closet).

Stephen Myers (Ryan Gosling) finds himself in a political whirlwind in "The Ides of March." Photo courtesy of Sony Pictures Entertainment.

GC also gets a producer, director and screenplay credit for "The Ides of March.” Aside from RG he has surrounded himself with strong support, including Paul Giamatti, Philip Seymour Hoffman, Marisa Tomei, Evan Rachel Wood and Jeffrey Wright. GC friend and colleague Leonardi DiCaprio is also one of the producers.

“The Ides of March” is rated R for pervasive language.

Unorthodox Rise of an Underdog in 'Moneyball'

Billy Beane (Brad Pitt) and Peter Brand (Jonah Hill) create a formula for recruiting the best talent in "Moneyball." Photos by Melinda Sue Gordon/Columbia TriStar Marketing Group.

THINKING outside the box or defying conventional wisdom is at the heart of “Moneyball,” but it is really about the competitive nature of a determined man, one who just might have something to prove.

The film is based on the real-life story of Billy Beane (Brad Pitt), a former professional baseball player who did not live up to his superstar potential. He quit the talent side of the game and repurposed himself as a management type. (See video below).

Going into the 2002 season, General Manager Billy is tasked with reviving the lowly Oakland A’s, which once again has seen star players poached by elite clubs such as the New York Yankees and Boston Red Sox. It opens nationwide today. (Also opening are “Abduction,” “Dolphin Tale” and “Killer Elite.”)



In his quest to have a winning season Billy embraces some statistical theories that establishment baseball has dismissed as poppycock. He presses economist Peter Brand (Jonah Hill) into service to morph these theories into a concrete player recruitment blueprint that will bring the A’s into some glory. The result is a formula that instructs that the A’s should court very special types: “old” guys, oddballs, the injured and incessant troublemakers. A’s field manager Art Howe (Philip Seymour Hoffman) ain't buyin' it and refuses to go along.

“The film questions the very idea of how to define success," asserts BP who also has a producer’s credit. "It places great value on this quiet, personal victory, the victory that’s not splashed across the headlines or necessarily results in trophies, but that, for Beane, became a kind of personal Everest.”

“Moneyball” is adapted from the 2003 book of the same name by Michael Lewis, a former Salomon Brothers bond trader. ML, who has emphasized that his book is not the most natural fit for film because of its emphasis on statistical analyses and theories, is pleased with the outcome.

“Whenever a book is adapted into a movie, there are two possibilities: either the filmmakers stick to the book, or they make up their own story … it was an extremely pleasant surprise to see that Bennett [Miller, the director] and the screenwriters did the impossible – not only did I love the movie, but I was stunned by how well it represents my book. It is honest and true to what happened with Billy and the A’s and what they achieved.”

Once everybody is on the same page in "Moneyball" the plan is set in motion. That season the A’s made it to the American League Division Series, which the club lost to the Minnesota Twins.

“Moneyball” has gotten mostly favorable notices, with some critics singling out BP and JH as the economist. There is even talk that BP's performance is worthy of an Oscar nomination.

Philip Seymour Hoffman as a baseball field manager who does not like the way the team is being managed in "Moneyball."

Interestingly enough, several "Moneyball" cast and creative members have Oscar on their resume. BP has a couple of nominations, while PSH won a best actor statuette for “Capote.” That film was directed by BM who earned a nomination for his efforts.

It fell to Steven Zaillian and Aaron Sorkin to cloak ML’s technical jargon into sparkling dialogue. SZ was nominated for his “Schindler’s List” screenplay; AS won an Oscar for his screenplay for “The Social Network.”

Moneyball is rated PG-13 for some strong language.