A Late Quartet is a terrible film—it’s like an idiots’ Amour. It does, though, feature an outstanding performance by Christopher Walken. The movie itself is all calculation. It’s achingly, parodically middlebrow in everything from its storyline (the 25th anniversary tour of a string quartet is jeopardised by the illness of its founder, and the tensions between the remaining three members) to the bias of the script, which fondly imagines that passionate young women go helplessly cock-a-hoop for embittered, middle-aged jobbing musicians with an entire airport carousel’s worth of emotional baggage.
Viewers of a discerning disposition will have to brace themselves for soulless shot compositions, and the indiscriminate ladling-on of music to encourage us in our tears (not that even a film this bad can diminish Beethoven’s Opus 131 String Quartet in C-sharp minor, which the quartet is preparing to play, and which the director Yaron Zilberman claims, in a direct bid to land top-spot in Pseuds’ Corner, has informed the very structure of his film). But it will be worth all that, just about, to clap eyes on Walken.
This actor, revered for his baked-in eccentricity, x-ray eyes and those wayward stresses which never fall on the same word in the same way twice, is 77 years old now, and has been doing some of his best work recently. He was the calm emotional anchor of Martin McDonagh’s restless and unsatisfying comic thriller Seven Psychopaths, and brought gravitas to Todd Solondz’s typically toxic comedy Dark Horse. In A Late Quartet, he plays Peter Mitchell, a cellist diagnosed with Parkinson’s Disease. The opportunities to milk such a part for maximum pathos are clear, but instead Walken remains stoical, solid and true: he underplays, hangs back, conveys with great lightness a sense of fear and vulnerability which could have capsized this otherwise inconsequential picture. Of course, this must be what great actors do: they look at the text as a whole and modulate their performance accordingly. Walken going maniacally at full pelt (see King of New York) or giving it the full, twinkly-eyed Jack Lemmon routine (as he did in Catch Me If You Can—though it fitted the tenor of that movie) would have shoved the rest of the cast (which includes Philip Seymour Hoffman and Catherine Keener) off the screen.
Sometimes an actor becomes adored for his or her craziness, rather than to the honesty behind it. James Franco is a good example, and you need look no further than his performance as a swaggering, snarling white rapper/drug dealer/gangster in the current Spring Breakers, a film which presses the buttons of its hipster viewers as effectively and cynically as A Late Quartet does for its own swankier target crowd.
Walken remarked in a recent interview: “Quite often, I’ll be sent a script for a movie. And I find that I like it, so I say I’ll do it. But then they rewrite it for me. They make it quirky… I call it Walkenising.” The temptation, and it is not one to which Walken himself has always been immune, is to ramp up this quality. But what has saved him, I think, is his emotional grounding: it is rare not to feel the solidity of his work beneath the wackiness. Even nutso riffs like his small comic turns in Mousehunt or Click or his measured monologue in Pulp Fiction have an inner life: those characters live on beyond their screen time.
Walken has become celebrated in recent years for his more demonstrative, eye-catching work so it’s important to remember that such battiness represents only a tiny proportion of his range. His performance in A Late Quartet harks back to his haunted, Oscar-winning turn in The Deer Hunter, or to his studied, quiet work in The Dogs of War and The Dead Zone. A composure, an inner stateliness, has been with him all along: it just didn’t always fit his spiky, kabuki-like face. Now, as his years are advancing, he has grown into himself. He has started making sense.
A Late Quartet is on release.