Duet for One

In this sensitive adaptation of Tom Kempinski's play, Andrews, as the internationally acclaimed concert violinist whose career, marriage and life are shattered by the onset of multiple sclerosis, is as professional as ever; the supporting cast - Bates as the surly, selfish composer husband, Everett as a rebellious protégé, von Sydow as the psychotherapist whose seemingly callous attitude conceals his own fear of dying - is equally solid. And, except for a couple of scenes concerning sexual jealousy, Konchalovsky's direction is reliable and unsentimental. But the use of the sugary slow movement from Bruch's Violin Concerto - a real family favourite - to accompany the crucial moments of Andrews' dark night of the soul is symbolic of the film's limited achievement: to confront anxiety, illness and the realisation of life's meaninglessness without ever exuding a real sense of pain.