![]() More unsettlingly, they also raise the possibility that panic attacks could be the least of Henry’s problems. Here and there, they teasingly hint that Helen has been recruited by Henry’s manager (slyly played by Giancarlo Esposito) for an emotional rescue mission. ![]() And, indeed, throughout the first half of “Coda,” director Claude Lalonde and scripter Louis Godbout suggest Henry might be right to hold his secrets tight. “There is a lot to be said about staying on the surface of things,” he responds when she presses a tad too insistently. It helps a lot if the drama is as low-key and credible as “Coda,” And it helps even more if the lead performances are as subtly affecting as those offered here by Patrick Stewart as Henry Cole, a celebrated musician who finds himself increasingly stressed by stage fright late in his decades-long career, and Katie Holmes as Helen Morrison, a thirtysomething (or thereabouts) writer for The New Yorker who wants to profile Cole as he warily launches his first concert tour in years.Įven then, though, Henry is loath to reveal too much about himself. Ironically, a similar question could be asked about the movie itself: Do we really need another drama about an aged artist who’s reinvigorated, professionally and personally, by a free-spirited and much younger woman? ![]() “Do we actually need another recording of the Goldberg Variations?” The question, at once impudently cheeky and playfully taunting, is posed in “ Coda” by the long-time manager and friend of a world-famous classical pianist during an intimate outdoor lunch with, among others, his bemused client. ![]()
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