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 several shots, a pinkish, non-reflective coating appears on Falconer's glasses. Such coatings were not available in 1962. See more »
Would you like to meet Charlton Heston? He's our scorpion. Every night we throw in something new to him and watch him kill it. Daddy says it's like a Coliseum. Daddy says he wants to throw you into the Coliseum.
No kidding. Why?
Well, he says you're light in your loafers. But you're not even wearing any loafers.
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Colin Firth and Julianne Moore shine (as usual) in Tom Ford's brilliant directorial debut
Tom Ford, you surprised me. I don't really follow the fashion world too closely at all, so although I naturally knew his name, I wasn't familiar with his creations. I haven't read the Christopher Isherwood novel (yet), so Colin Firth and Julianne Moore were the ones who actually got me excited for this project. And I wasn't disappointed – it actually exceeded all my expectations, and alongside Jane Campion's "Bright Star" (which unfortunately is being almost completely overlooked this awards season), it's the most poetic 2009 film I have seen so far.
Firth, always elegant and fascinating, plays George Falconer, a British professor in 1960's Los Angeles trying to cope with the death of his long-term partner, Jim (Matthew Goode). It's been eight months since Jim's death, and George decided to end his life by the end of the day – and it's this day we see in this admirable film. George spends time with his best friend Charley (the always wonderful Julianne Moore), with whom he had something in the past (and still has hopes of winning him over again), and now is an unhappy divorcée. A young pupil, Kenny (Nicholas Hoult, who has grown up a lot since "About a Boy" and "The Weather Man"), who clearly is infatuated with George, harasses him until he finally gives him the attention he craves. These two different encounters will be decisive for George. As sad as the overall tone and the theme of mourning can be, "A Single Man" is by no means depressing. Ford uses and abuses of "artsy", but very efficient and intriguing camera angles, and a classy score by Polish composer Abel Korzeniowski. Eyes, lips are shown in evidence throughout the film, and naturally, the costumes are all superb.
George's long day's journey reminds me a lot of Virginia Woolf's classic "Mrs. Dalloway". Marleen Gorris was able to do a correct but somewhat cold adaptation of Woolf's novel in 1997 (scripted by Woolf scholar and talented actress Eileen Atkins, featuring the magnificent Vanessa Redgrave in the title role), but I thought she wasn't much to blame for the film's coldness since that's one of the most complex novels to be translated to the screen. After seeing "A Single Man", I even dare to say Tom Ford could do an interesting and very personal adaptation of "Mrs. Dalloway". Also, this is one of the sexiest films since Alfonso Cuaron's "Y Tu Mama Tambien" (2001) and Bernardo Bertolucci's "The Dreamers" (2003), and Nicholas Hoult's incandescent presence has a lot to do with that. He gives an efficient, brave performance for an actor his age, and although I'm sure Jamie Bell ("Billy Elliot"), who was the first choice for the role, would've been terrific, Hoult doesn't disappoint. It's not every day we're given a film with such emotional intensity and exuberant sensuality, and "A Single Man" proves that Tom Ford is certainly a promising director, having given us not just a great first film, but one also one of the year's finest and most unusual creations. A film to be felt and celebrated, and I can't wait for the DVD - it's a keeper. 10/10.
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