Talking Movies

February 10, 2010

A Single Man

Fashion designer Tom Ford makes a stunning directorial debut with a film whose unsurprisingly impeccable tailoring and gorgeous visuals are matched by surprising depth of characterisation and emotional maturity.

Colin Firth stars as George Falconer, a very English professor of literature in a small college in Los Angeles who we follow over the course of one day, November 30 1962. The Cuban Missile Crisis has the world on edge but for the suicidal George the world already ended 8 months previously when his partner Jim died in a car accident. This being 1962 George has no public outlet for his crushing grief, indeed, in the most upsetting scene you will see all year, George only finds out about Jim’s death because one of Jim’s cousins defies Jim’s parents and rings from Colorado to inform George, before telling him that he can’t come to the funeral – which is for family only…

George outwardly appears to be exactly who is supposed to be, as he informs us in the opening voiceover but he is pretending on two levels, and the more important deception is not the pretence that he is straight but the pretence that he is okay. In fact he struggles to find any compelling reason to get out of bed every day as the one person who anchored his existence in the world is gone. Ford makes great use of suddenly varying the colour saturation within shots to show the bleakness of the world from George’s point of view, with occasional surges of colour when he is momentarily aroused or excited, or when he is overtaken by a sudden flood of memories.

Matthew Goode is wonderfully warm in these flashbacks as Jim, George’s partner of 16 years. What’s most refreshing is that Ford’s depiction of this gay couple prioritises the latter element over the former as we see them in scenes of cosy domesticity trading barbed insults alongside serious musings. A scene where they discuss women is marvellous for mapping changing gay mores as George remembers his youthful sexual relationship with his best friend Charley (Julianne Moore), an alcoholic divorced fellow English exile who is now his most tangible link with the world. Charley and an enigmatic young student (Nicholas Hoult) who is apparently stalking him might be the only forces able to stop George from killing himself, other than his endless inability to find a comfortable enough position in his bed in which to pull the trigger – a sequence of jet-black hilarity.

Ford, who financed the film as well as co-writing and directing, has managed to transform a forgotten Christopher Isherwood novel into a compassionate meditation on human relationships which is also sprinkled with hilarious lines. Firth’s performance which is full of dry wit beside the expressive grief is a career highlight in an early contender for film of the year. Highly Recommended.

4/5

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