四重
:奏

　　It has be_+(en said t[ha-# %t most gr_.eat twe= =\ntieth centu%[ry novels i\)nclu% d=*e scen/(es in a hotel, ;%%a sy@mptom of the vast upr ooting that h=as occur#(red in t%@_he l##a,^s =t ce+ _ntury: James Ivor#y begins* /? Quartet wit_$h a montage of :the hotels of Mon[#tparnasse, a quiet[ prelud e before.+ :$our introduction to the ]violen[ tly lost souls who inh#:\ ab@]it them.　　Adapted from the ,1928 a utobiographica_ l nov[el by.% Jea;$/n Rhys?, Quartet is the story^ of a love quadrangle b[etween a c/ omplica?\%(ted /you#ng West India;$n woman named Marya (playe_:d ,by Isabel(le Adjani-[.),`, -her hu.sband Stefan ;(`(^)=Anthony H;i^][g`\gins?), a manipulat,ive  E%n^!g$;lish art pa/tron:) named Heidler#_( (Alan Bates), a+nd h`i-$s pai- -[nter _]wi:-fe Loi_@:s (Magg

ie Smith). The fi(lm$%! is set
i.:n
the Golden Age of P),a/!$ri;s, Hemingway&#_?#(\39s ("moveable f/-:[east&q[)(uot o$-\f c=#afe culture and extra:; vagant nightlife, glitt;
er and literati: yet! under/nea@/th !@is the % outl_in e of_? so
(m:et*
hing@ sinister  beneath t= ^he ((]p; oli% $shed brasses@$ and bra?:sse/,ries.　　?W=hen ?%`Marya's? husban
*d i_(s p;*!ut in a Pari-s pr#^ison_ on charg# es of_,`[ sellin`g,@` sto*len^ art works, she i[s
 left$ indig]e(;nt` and is taken in.] by Heidler$ and h)is wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) .is quic k to ta,[ke _:[advantage of th.e new l*:!i$ vin\g# arrangement, and. Marya find]=s he:rself in a;. strangle*,hold_ betwee.$*n husband^ and wife. Lovers ,(_alternately gravit%_a-t!e towar=:+d and :are : re %p!@;el%@.led_ by each other, )now professi,[ng[?\\ their love, now con :fessin#;g their`! bruta:]_ l indiffe:rence -- all th^ e:; while kee(^p=in%g up appearanc%-es. The f(=ilm explo\res the vast( territory$ b !etween the &-quotnice" and th??e @&/-quo;,tgood,_,&q==uot be*tween outward refinem,$ent and 
^inner d*arkne*\ss: [^after one violent@ e\#pisode, Lois asks
/[ M*)arya not to [(=)s=peak@. of it to the Paris =crowd. &q:;uotIs,]*@ -th`.at al%l you&:#39r%e worried about?&;quot # [demands an out#\r#-aged Marya. "Yes/-," \)@Lois r %e -pl=ies );,wi`th ` icy(_ cando ]r, "as`+ a m atter of fact."　　@$Ad\@jani won the Be=*+st ]!Actr]:%e,ss awar#d a
]t Ca@%nne^`$s f@/or her\? =pe_rforma=)nces in
* Qua; rt\et%/: @her Mary)]a
 !is a vol,atile compound of Frenc: h-# schoolgirl and scorned mist[res+s,)#- ve ering.] betw!een tr@emul)^ous joy and hysteri@ cal outbur=st. Smi!*`th shines in one @=of her
-most memo+]rable role !s: she i#
%mbue)+s Loi-* ,s  w(
? =ith %*a Kather
/:ine-of-Ar_($agon i_mpotent .==rage, as humiliated as she [ is power!le)( ss in th=e )[face of her hu=!sb -a ?]nd&+^*#39s c \#hoice #s. Her
[inter*@actions! wi%/th Bates ar+e s:,cenes !$%from a marriage? that[
$ has[/;  ,move
]d f?rom disillusionment+` to pale acc;`ept;_ance.　　R;-ut-#h Prawer Jhabvala and :James ?Iv+ory'-$s screenplay \;uses Rhys=9s ;`nove\+.l as ) a foundati^o=n f?ro m which it c%;onstruc!_
ts a world that is b =/oth true %to the$  novel ._?an$d distinc^
]tive in it+s : own right, paint
ing ^a so$c!; #iety =:that has lo/st it:s inhi:\*bitions and inadvertent.+l$ y`+ lo*!st its so=ul. We are? taken+:; to?; mirrored cafes@*+, then move thro$ :ug/+;_+h th![e looking gl[ass: Mar))ya, in :-:one scene
=, is%` offer, ; ed`= a job as a m:
o?del and then]   finds h,? )er=self in _/ `a % :sadomasoc%=his=@-@ti[_c po!/rno)]^gra/# p[^her` ;9s studio. )%]The film, as photographed by+# \]Pi=#erre Lhomme,:= !/ cre  ates t:$
h\_!orough !ly cinematic moments ,!that ?
Rhy`9s nove=l co*[%-uld$[* ?
\n o .t h/
*a%ve at@te:[mpted.$*: .in one!# !_
of the Ivo:ry%(9s;: most m)=e;*mora
b, le scenes?, a (%black American ch/,an:]\te(use;: (extraordinarily\ play *+(ed by Armel@
ia McQu)@-een)+ entertain \)s)/ Parisian .patro?ns with a big a*$nd br(,assy jaz?z _song, n^either su\
*%b= _tle $nor elegant*. I#vory keeps t\^].#he- camer`/a \on the singer's act: the].*-re is something in her u :nguarded smil -)e th[=at )\_makes the, danger bene()at$=h Montparn%:asse man*[ners seem more ac=ut]?e.