Within the last couple of weeks, I’ve reviewed two movies that focused on the elderly: Amour and Quartet. And while plenty has already been said on this very blog about Amour (and I definitely don’t want to beat a dead, er, euthanized horse) I want to talk briefly about the huge difference between this pair of pics and what I walked away with after seeing them.
Both films talk about the things we humans can experience in the decline of our latter years. Both are well acted and directed. And I can readily attest, after seeing both, that neither stands cinematically and artistically superior to the other. But while Amour focuses on grief, loss and painful decisions, Quartet centers on forgiveness, renewed efforts and possibilities. Amour is slow and contemplative. Quartet, brisk and bouncy. Amour begins and ends with assisted death. Quartet sings its way out on a note of hope for rich relationships and new beginnings at any stage in life. Quite frankly, I walked away from the former film feeling depressed. But I strode out of Quartet with a smile, hoping there might be something like a Quartet II (or would that be Octet?) somewhere on the cinematic horizon.
Yes, admittedly, the above experience is just one man’s opinion. Yep, art is in the eye of the beholder. But art and entertainment also elicit emotion and thought in the beholder. And my question is, which of these two movies does Hollywood and the movie establishment appear to want us to be thinking about?
How do we determine that? Well, which of these two films are they praising and ballyhooing with ecstatic acclaim? And which one are they pretty much patting on the head with a quiet little “Get outta here, kid, you’re bothering me”? Amour picked up the prestigious Palme d’Or from Cannes, and it’s been nominated by the Academy of Motion Picture Arts and Sciences for Best Director, Best Actress, Best Screenplay, Best Foreign Film and Best Picture (a double foreign and domestic honor that’s only been doled out four times in the history of the awards). Quartet? It landed a Golden Globe nom for Maggie Smith’s excellent performance. And … that’s about it.
That’s not definitive proof that Hollywood wants to see your granny taken out back when she breaks her hip. But it does seem to reveal a certain cultural slant. It suggests that the youth-obsessed film industry thinks dreary, painful pics about “merciful” elderly death are much more realistic and worthy than some cheerier alternative. That’s a sad viewpoint if you ask me. And I can only hope that it’s a philosophy that won’t be repeated again and again thanks to Amour’s elevation. I’m rooting for a lot more pics with sunny endings and … hey, a lot more Maggie Smith.
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