Old musicians – they have the best insults.
“Your singing brought tears…to my ears.”
“I can’t forget you in ‘Carmen.’ But I’ll try.”
The retired musicians at Britain’s Beecham House may not have the cash or relatives to ensure they pass their last years at home. But they still have their wit, their love of rehearsal and the fading vestiges of their talent.
“Is there no END to your bloody talent?”
That’s the setting for Dustin Hoffman’s dainty, adorable and adorably predictable film of Ronald Harwood’s play. It’s a celebration of great old actors set in a world of once-great singers, and Huffman’s affection for them and the material shows in every frame.
Aged operatic divas – the female and the male variety – and lesser mortals from the chorus, the orchestra or the English music halls fill the rooms of Beecham House, people who must live surrounded by music – preferably their own.
“Now, when I was Gilda, it was a TRIUMPH.”
“Yes, I remember my mother telling me about it.”
That last zinger is delivered with panache by Dame Maggie Smith, playing the diva among divas, Jean Horton. The ancient, imperious Jean, “as large as life, and twice as terrifying,” is new to Beecham. And that creates a stir.
Cissy (Pauline Collins, delightful) was Jean’s forgetfully addled supporting player in many an opera. And the old skirt chaser Wilfred (Billy Connolly, too young for the part but a hoot with a randy pick-up line) knew her well, too.
That’s because his best friend, Reginald the tenor (Tom Courtenay) used to be married to her. Jean is the last person Reginald wants to see as “dignified senility” sets in.
