It's November 30, 1962. Native Brit George Falconer, an English professor at a Los Angeles area college, is finding it difficult to cope with life. Jim, his personal partner of sixteen years, died in a car accident eight months earlier when he was visiting with family. Jim's family were not going to tell George of the death or accident, let alone allow him to attend the funeral. This day, George has decided to get his affairs in order before he will commit suicide that evening. As he routinely and fastidiously prepares for the suicide and post suicide, George reminisces about his life with Jim. But George spends this day with various people, who see a man sadder than usual and who affect his own thoughts about what he is going to do. Those people include Carlos, a Spanish immigrant/aspiring actor/gigolo recently arrived in Los Angeles; Charley, his best friend who he knew from England, she who is a drama queen of a woman who romantically desires her best friend despite his sexual ... Written by
IN the DVD commentary, Tom Ford says that when Jennifer speaks to George in the bank, some of what she says is based on Ford's own childhood. She has a pet scorpion because Ford and his sister had a pet scorpion when they were little. Her older brother is named "Tom" because Ford's first name is Tom. She speaks of her brother Tom giving her hair treatments with eggs because that was something Ford did for his own sister many times. She obliviously says that her brother Tom is "light in his loafers" (a slightly derogatory euphemism for being gay) because Ford is gay. See more »
When George gets into his car after his lecture, a contemporary Mercedes Benz, the car's leather inner panel looks old and wrinkled. See more »
There's no such thing as old anymore. The other day, one of my students called me a senior citizen.
I wouldn't mind if old didn't exist. But I'm not sure that senior is what I'm aiming for, either.
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Tom Ford's debut has an immediate effect and an after effect. We are taken immediately by the "preciousness" of the image. Limpid, exquisite and slightly detached. The after effect is a whole other story. Colin Firth's face comes to haunt you. His pain and his deep period of reflection has a powerful, contagious effect. Colin Firth creates a character that contains a doses of his D'Arcy of Pride and Prejudice and a pinch of his Adrian LeDuc of Apartment Zero but the rest is totally inedited. His middle age man that spends a day drowning in a memory that tortures him has a resonance that touches countless personal memories. Love without other implications, because love is all there is. I applauded until my hands hurt when I found out that Firth had won the Copa Volpi at the 2009 Venice Film Fest for this role. This was so richly deserved. I doubt I'll see a better performance this year. Bravo!
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