Cynicism

"The Colonel's Lady" was next in order (last on the bill) and next in merit. No anti-climax to the peak of the film, it had much of the paradoxical pungency combined with conventionalism which soaked through most of the Quartet. The more verbose, active Colonel Peregrine was out-acted by his silent static wife, but stayed a credible if stock character nevertheless. The O. Henry flick at the tail of the story should have brought tender tears to the eyes: it didn't, but the fault is rather in the [unclear: story] than in the [unclear: acting]. As it was, "The Colonel's Lady" was cynical more than sentimental, and affective thereby.

Of the other two stories there is leas to be said. The first is a flippant amusing little piece of the kind which suited Radford and Wayne. Fortunately it was lifted above the average by Mai Zatterling—also a flippant, amusing little piece whose over-exposure (nothing to do with camera at that) added much to the verve of the opening. The de Maupassant ending was well done. The second story was very well done by the main character—George the would-be pianist—but, however well acted it was, and though the cast and director were fully perceptive, Maugham is perhaps too superficial to get tragedy; it stays cynical, sad, but not tragic.

Quartet is well harmonised: the stories blend well, the actors and directors and the sets are without discord. It's an excellent film, but Maugham is definitely in the "light orchestral" range.