For every Ben Affleck and George Clooney, there are many other established actors who try their hand at directing without a great deal of success (Tom Hanks and Johnny Depp spring to mind). There are plenty of flaws in Dustin Hoffman’s directorial debut, Quartet – the elegiac shots of the Buckinghamshire countryside become rather heavy-handed, the ‘singing’ (or lack of it) is a problem and the ending feels abrupt. But Hoffman’s picture is nevertheless thoughtful and enjoyable, and it reveals a director with a talent for bringing out the best in his actors.

Quartet is set in Beecham House, a fictional retirement home for ex-musicians and opera stars. Barring the odd personality clash (hardly avoidable in a house full of thespians) and grumbles about the range of breakfast preserves on offer, life seems idyllic until the arrival of Jean (a sharp-tongued diva played by Maggie Smith), whose presence reignites some painful memories for her ex-husband and long-standing resident, Reggie (played by the graceful Tom Courtenay).

The future of Beecham House, it transpires, is also uncertain – its hopes of survival are riding on the annual charity gala, presided over by the egotistical Cedric (Michael Gambon). For the finale, Cedric wants Reggie and Jean, along with old friends Wilf (Billy Connolly) and Cissy (Pauline Collins), to reprise their acclaimed performance of the Quartet from Verdi’s Rigoletto. Can Reggie and Jean set aside their differences – and anxieties about performing – in time?

The last twelve months have seen the release of several films focusing on relationships between older characters, a trend that looks set to continue with Song for Marion, which opens in cinemas at the beginning of February. Quartet offers a sensitive exploration of similar situations and themes – the central argument is that it is never too late to enjoy life and love – but the film is not as bubbly as The Best Exotic Marigold Hotel or as insightful as Michael Haneke’s Palme d’Or winner, Amour.

It is the strength of the central performances, rather than the narrative, which makes Quartet successful, (though the fact that Maggie Smith has played an irritable woman with a dodgy hip twice in one year underlines how roles for older actors remain limited). Smith and Courtenay are comfortable and engaging as a jaded former couple and Connolly provides comic relief. But it is Pauline Collins’s gentle, yet unsentimental, portrayal of Cissy (who is in the early stages of Alzheimer’s) which really makes an impression and provides the film’s emotional core.

Hoffman has made a discerning choice for his first directorial venture, opting for a light-hearted drama and prioritising high-quality acting and writing – the film is based on a play and adapted by its original writer, Ronald Harwood. Although it is unlikely that Quartet would have received half as much publicity if Hoffman had not been behind it, the film is an entertaining and uplifting addition to an expanding genre.