Joseph Stefano was born in Philadelphia in 1922 to Italian immigrants. The child grew up without a father, and his childhood fell on the Great Depression, when little Joseph felt on his skin what poverty is, and also absorbed all the charms of life in the Italian quarter and managed to fall in love with cinema, hiding from the Philadelphia heat in the coolness of local cinemas. Then Stefano grew up and became a famous Hollywood screenwriter, who wrote 'Psycho' and 'Black Orchid', received 'Saturn' and when he got older, wrote a screenplay imbued with hurting sadness, nostalgia and love for his relatives ' where he told about his half-starved childhood, love for cinema, strange neighbors and grandfather - a man who could not leave him a fortune, but gave several very useful tips for the whole life.
In the mid-90s, Stefano, who felt the decline of his career, really wanted to make this film. I wanted so much that he acted not only as a screenwriter, but also as a producer, however, the director did not trust himself, but entrusted the notorious, although not too successful director James Foley. The film turned out to be similar to all such nostalgic pictures, and still in something special. It hears the notes of many films - for example, as ' Rome' or ' Voices of the Moon' Fellini, where the description of funny scenes from the life of a small ghetto reaches unexpected philosophical generalizations and becomes a cast of time, and 'Next stop Greenwich Village' where the initiation, transformation of a child into an adult takes place.
This film resonates warmly in the part of the brain or heart where we have memories of our first acquaintances with the adult world, our small homeland, deceased loved ones, what they told us, and generally similar to ' Memory chest' where expensive things are stored - the first toys, mud photos, meaning nothing to anyone but yourself, some button, a coin or a bunch of hair.
This is a warm and gentle film about childhood, growing up, about the fact that we all come from childhood and the flesh of our relatives - people and places - whether we like it or not. It is about the first dreams, secrets, first adult decisions and understanding of the first, not yet cunning philosophy, about the first talismans, one of which for the young hero of the film was the last quarter given by his grandfather on the day of his death - meaningless, but had great importance for the inner world of the child.
Of course, the biggest and most important thing in childhood is the child’s relationship with the adult world and the appearance of a person who is a definite guide in this world. For the hero 'Quartetack' this man was his grandfather, who was wonderfully played by Al Pacino. No, not brilliant, not stunning, not at the limit of possibilities. This role is hardly noticeable in the actor’s extensive filmography. And in the film, he appeared only because of his sympathy for the director Foley, with whom he worked very successfully the day before on Glengarry Glenn Ross'. But played as Pacino can - lively, emotionally, truthfully, not superficially, with an inner smile. Pacino had to age artificially for this role, he was not an old man at all, it would seem, was there not another Italian-American of the right age for this role? Maybe there is, but who else could, firstly, raise a modest independent project to the level of films of class A, and, secondly - so heartfelt, interesting, psychologically authentic, sensual to tell a whole life in a short period of screen time, besides, without getting up from the chair?
Pacino is an actor of a huge range: compare this role - a dying old man, with the affectionate irony of bequeathing to his grandson to allow himself to want and dream, despite the modesty of origin and the narrowness of the walls of the Italian enclave, with the role, for example, in the released 2 years & #39; Devil's Advocate' where the same Pacino - exploding with hatred and sardonic sinfulness fireworks of vice! In 'The Quartet' the actor showed, among other things, the continuity of generations - how and where in us there are some inexorable thoughts, attitudes, prescriptions - not always useful, often not realized, but always - affecting the whole subsequent life. Interestingly, the story told Stefano turned out to be very personal for Pacino, who - not in Philadelphia, however, but in New York, also spent all his free time in cinemas, and was brought up by his grandparents, who, according to biographical references, laid the foundations of acting in him.
Important is the figure of the mother, painted on the screen by Mary Elizabeth Mastrantonio. An unhappy single woman who has lost her husband and is saying goodbye to her father every day, struggling to make ends meet, raising her teenage son, she is the mother many of us know - as she says herself - at a crossroads. What to do with the outgoing youth, how to make obey the beloved, but already falling out of the maternal care of the son, how to cope with all adversity and not go crazy. Mastrantonio is truthful in every question she asks herself.
'Quartet ' didn't make any noise on the way out. This film is not designed for noise at all - it was released in only 2 theaters. It's a humble, quiet, small film - not at all brilliant or outstanding, just good: funny, sad, very personal. Someone will definitely have something to do with him - the memory of relatives, stupid neighbors, terrible or inspiring events. Someone will come to him because of Pacino or Mastrantonio, and someone will never see him. But if he does, I hope, like me, this bittersweet parable of growing up, childhood, love, loss and forgiveness will respond with something warm and good.
8 out of 10
A good deed in exchange for a brick.
A good deed in exchange for a brick. It is the personification of the film "Quartet", and which is this review.
The main theses of this film: faith, respect, love.
So, to the story.
America. 1933. It was hot, depression was not only in the pockets of disadvantaged citizens, but also in their empty heads, slowly losing hope. Children, in every possible way, trying to have fun, then, playing near a broken trumpet, then hiding from the hellish sun lying on the church bench, listening to the rite of joining two souls.
The main character is a boy named Gennaro. They are trying to find an alternative to this daily routine. And then, he sees an ad screaming like a mouthpiece: “Do not miss, visit the new, unique cinema “LAPALOMA”, have time to do it before 18.00, at a price of 25 cents.”
The boy realizes that this is his chance to add bright colors to his gray life. The eyes are burning, the stomach is boiling, there is only one obstacle - lack of money. Since the young man was very young (12 years old) and his family was in a very troubled state, he could not afford such entertainment. But the desire took its toll. And then, his brain is stirred by the thought that his grandfather, for the past couple of weeks, has been seeing a sign of his imminent demise. And when the thunder thunder thunders, he will get a quarter, as a gift from his grandfather. Once came to conquer America, a hot Italian spends his last days in his garden, reading the newspaper, washing himself with the rays of the sun.
Gennaro is not fully aware of the true concept of death. Trying to easily open the doors to LAPOMA. If Grandpa will see the light at the end of the tunnel so soon, why not realize this sweet desire now, but, Grandpa holds his position. Based on what he will leave to his only grandson after he leaves, if he makes this present now. Maybe a descendant won't even remember his grandfather playing baseball with friends? The boy, not understanding senile philosophy, tries to solve the problem on his own. But, the task seems to him completely impossible, given that the work was not even serious masters.
But, the young Italian does not despair, stubbornly walking, to the realization of the goal.
“When a man comes into this world, God builds the foundation for him. The more good things you do, the more bricks will pave the way to paradise. Where awaits you, a second life, another.
This teaching brings the elderly Gaetano to her grandson. Gennaro, not fully aware of the significance of this doctrine, realizes that he simply loves his grandfather. Just because he's there. But what he hears won't come back. She is surrounded by her warm words and wisdom. After all, for the most part, nothing else is needed. Family ties are not built on material foundations or any kind of gain. They are based on love and peace, in their hearth.
If, that's achieved. Any goals and dreams will not seem unattainable.
The character from which I drew this philosophy was played by my favorite actor Al Pacino. I can't say he surprised me in any way, no. He, just competently, professionally, added his groove to this picture. Which is not a small weight. The film was shot at ease, on a classic filter, with its own zest inside.
I would like to put 9 points, because not much time, like, for a full-length picture. But, if the meaning is reached, in its key, then timekeeping is just nagging.
10 out of 10
I hope that after seeing the material on your plasmas, you will also find your root in this doctrine.
Wake up in the morning, hug your family, give a smile to a stranger, and the sun will repay you with the same coin.
If I give you a quarter now, what will I leave you when I really leave?
If you go out on the streets of America today and ask people, "Is 25 cents a lot or a little?", it's unlikely that most people will say it's a big sum. Especially good-natured people may ask in response: “What, are you missing something?” Shall we add?” Whether it is the beginning of the thirties - the period of the Great Depression, when you could get into trouble for much less money. It so happened that it was behind the quarter that our hero, a boy from a family of Italian immigrants named Gennaro, saw an advertisement for the opening of a new, only in the city, cinema. The grandfather of the tomboy, anticipating an imminent death, says that today is the day - soon the inheritance in the form of a quarter will be yours. Unbelieving that God will allow him to get the coveted coin at home (his grandfather has been repeating the same thing for the past couple of weeks), he runs towards the narrow streets to make money in every possible way. After twelve hours, paradise awaits him, but after the price of the question will double, and the dream risks remaining so forever.
The film “Quartet” can hardly be considered an important milestone in the work of American James Foley, who had enchanting ups and stunning falls, both in movies and on TV. But it is worth admitting that it is different from everything the director has ever put his hand to. Making a movie on a rather complex and delicate topic, he did not feel any limits, placing a twelve-year-old boy at the center of the story. By and large, nothing good is happening in the plot - constantly touched on the themes of hunger, devastation, pedophilia and of course death, quite relevant for the time, could cause shock if not shown through the prism of children's perception. Obsessed with the goal of raising money for the ticket, Gennaro does not notice the horrific things happening around him. He carries home one by one the deplorable news that another character, the impeccable grandpa Al Pacino, immediately filters, turning the drama into a philosophical parable. At one point, his character says, "Gennaro didn't realize how scared he was," and he's absolutely right. The concept chosen by the director does not give failures - the excitement to cheer for the boy to get to his first film show and the stories of sweet-voiced Alec Baldwin (narrator) and Pacino eclipse all the sad thoughts that were concerned about immigrants in the States.
The main storyline with two main characters and a mass of sidelines performing their function within five minutes is flawless. All scenes with Pacino are good not only thanks to the skill of screenwriter Joseph Stefano, who still worked with Hitchcock, but also thanks to the actor himself. He infused so much light, energy, and humor into the image that it is decidedly impossible to look at someone else when Pacino is in the frame (and there are few such episodes at all). As for debutant Jerry Barone, he also coped with his overall supporting role. In order not to make the film quite sad, the director alternates grief with the grotesque: then at the walls of the church there will be a wedding and a funeral, then he will sharpen attention on fat thieves, then he will make people kiss on the lips with a difference of 50 years of age. And the obligatory attribute of each episode is boyish eyes, full of enthusiasm, positive and ... misunderstanding. "Why are people so unhappy?" he asks himself at the beginning of the film and "How can people have fun at a time like this?" at its climax, after everything he sees. Yeah, he's really grown up. And the fact that the voiceover does not belong to the boy, but to him, but n years later, can also be considered a deft directorial move.
Of course, there are weaknesses in the film, such as the general secondary, sagging storylines not associated with the hero Pacino, as well as some confusion and too obvious desire to put the film in the appointed studio hour and a half frame, but even taking into account the “Four” does not want to scold. Tired of all kinds of thrillers and work with Madonna, James Foley after his main cinematic success gathered under the banner of familiar actors and had a little fun. In his work, the film is transitional, and if it were not for Pacino, he could have gone completely unnoticed. But it would be very in vain, since warmth and goodness, multiplied by a healthy level of intrigue for the fate of the characters, will fill every part of your body when viewed. The thin ice of storytelling in a troubled time for America with the help of bright directorial techniques turned into quite solid. You can even walk on it for viewers attending high school. In the end, everyone will have their own morality.
"To achieve the fulfillment of dreams - this is the greatest meaning of human life" (Alexey Yakovlev)
The Great Depression of 1929-39 caused irreparable damage to the US economy: the level of industrial production was set back decades, the number of unemployed rose to a critical level, most people suffered from malnutrition, and the birth rate fell by many times. And it created among Americans an atmosphere of oppressive despair, fear of the future, loss of faith in themselves and hope for well-being. But even more difficult were the numerous immigrants who flooded the country, particularly Italians, and before the global economic crisis experienced serious difficulties with adaptation and integration into the United States. James Foley's "Four" tells just about one such poor family, settled in South Philadelphia, in which 12-year-old Gennaro (Jerry Barone) lives with his mother (Mary Elizabeth Mastrantonio) and grandfather (Al Pacino), helping his beloved grandson to fulfill his cherished dream - to get into the newly opened cinema "La Paloma".
The coveted ticket costs 25 cents, which the old man promised the boy as an inheritance after his death, but the young tomboy is not ready to wait so much and goes to the city to work. Here, in his small world, any event turns into an amazing adventure, and a random sight into an impromptu film show. Here he witnesses an unusual “double ride” near the building of the local church, where the priest’s oversight simultaneously turns out to be a wedding motorcade and a funeral procession, which leads to a general brawl. Another time he tries to make money by street singing, but he is noticed by one friend and scolded for begging, taking away the penny donated by passers-by. Or watches a half-crazy woman, desperately stealing a bag of potatoes from a store to feed the starving children for days. And once, signing to clean someone else's basement, almost turns out to be seduced by an adult housewife.
The street gives Gennaro a lot of impressions, but he always strives home to once again communicate with his grandfather, who sleeps in the garden, who tells him something informative and important, which remains in his memory for a long time. He is his faithful friend, head teacher and spiritual mentor, one in three persons, with whom conversations about life, religion, relationships, etc. are the best school for a grandson. The story of this boy, dreaming about a quarter, embodies the main features of most immigrants during the Great Depression. It seems to be their collective image in miniature. At the same time, his hero shows the fate of Pacino himself, a native of the Sicilian migrants who settled in the South Bronx, whose growing up and upbringing in the absence of his father took place under the careful supervision of his grandfather, and the main entertainment of childhood was going to the cinema with his mother.
James Foley created an incredibly beautiful and realistic picture, in which he was helped by the native Philadelphian Joseph Stefano, who showed the poor streets of his hometown through the fleur of his own memories, turning them into an amazing fairy tale, and the story of the communication of the main characters - in a plot full of mysteries and not at all children's discoveries. And thanks to the exquisite camera work and magical musical accompaniment, filmed some 20 years ago, the tape looks like a real classic. After the Oscar-winning role of a blind colonel in The Scent of a Woman, Al Pacino was able to play an old man who sat in an armchair for almost the entire film with only his eyes, facial expressions and voice. Young Jerry Barone, for whom this appearance on the screen remained the only one in his career, composed a harmonious duet with him, filling the picture with his boyish charm and incredible energy, and his character resembled the boy Aaron from the plot-like “King of the Mountain” Stephen Soderbergh.
The film touches on a lot of topical issues and problems of modern man, shown from the perspective of a child who, because of his childhood naivety and purity, is not yet able to understand them fully. “Quartet” is a philosophical parable that makes not only think, but also contemplate, it is a story about how to survive and not lose heart even in the most difficult times, it is a film about dreams, for the sake of which you are ready to go to anything as a child. “Promise what you will want,” asks the boy’s dying grandfather, hinting that a person should dream all his life, and having reached the goal, set a new one. The cinema “La Paloma”, whose name is translated from Spanish as “dove”, becomes for Gennaro not only a symbol of a new world, happiness and love, but also the personification of hope for a future in which poverty ceases to be a norm of life, and cinema will be the most important of the arts.