A Single Man: a review with traliers
July 6th 2010 19:23
Fashion icon Tom Ford has made his directorial debut with a stylish and thought provoking work that follows the last day’s journey of a man whose life has been hollowed by the death of his partner Jim (played by Matthew Goode) eight months earlier.
After sorting out his affairs, he plans to shoot himself.
Based on the book of the same title, by Christopher Isherwood, we meet George Falconer (played by Colin Firth) a university professor who we find living in Southern California in 1962, just after the Cuban missile crisis exploded across the world's press and media, a point in time when we all lived on a knife edge, between peace and oblivion. Yet, this scenario of potential mass destruction plays out unacknowledged by Falconer, who is concerned only with his own destruction; his world had lost meaning for existence.
Just prior to the cultural youth revolution of the 1960's, this film is set in an era when homosexuality was found to be morally repugnant and illegal. Homosexuals were the toys of Satan, forever in the penumbra of God’s mercy, they were the living damned. So those who wished to succeed in life had to adopt a ‘normal’ public persona, their carefully studied behaviour did not broadcast their sexuality, for fear of persecution and isolation.
Yet, Falconer has had his own private world implode, in a sentence delivered impersonally by telephone, by a relative of his partner Jim, whose direct family refused to acknowledge their relationship, so he was told the funeral was, “family only”.
This had also happened to me.
This film affected me on a number of levels; its graceful pace, the removed air of the protagonist, who spends this day in careful observation of all that is around him, lulls one initially into a peaceful reverie, yet there is a smouldering, simmering subtext hinted at, and if you have been subjected to outright persecution, in any of its forms, and/or ostracism, then there is something in this film that will resonate for you also.
It will also touch those of us who have lost a close loved one. It is this loss and the resultant emotions that cannot be acknowledged, that became Falconer’s pressure cooker, leaving him with only one solution, one resolve, death.
His life had become a silent procession of memories, the intensity of what he had lost, and what he could never again feel from another person, increasingly became the engine for his self destruction.
I know what that is like too, I have been there, and I have taken the steps necessary to deliver me from this “best of all possible worlds”, to cynically quote Voltaire’s Doctor Pangloss, from the play Candide. So, for me, the film was a very touching, deeply affecting experience. Even for the heterosexual, I would suggest, it will also resonate, for loss is something we all have felt, or shall feel; death of someone we dearly love.
The suave, sophisticated look of the film, and the controlled, reserved British man left quietly bereft, is compelling viewing, it is a major accomplishment for a first time director and, I believe, heralds a great new auteur. Ford funded the film himself, co-wrote the screenplay (with David Scearce) and directed it. Few people manage to do this, particularly for a feature length film, and also see it not only get screen release, but lauded by critics internationally.
a whore tries to pick up Falconer
The film has received many nominations; Golden Globes, Oscar, BAFTA, etc. Colin Firth was most deservedly awarded a BAFTA for Best Actor, a Coppa Volpi for Best Actor ( Volpi Cup from Venice Film Festival), and a Best Actor Golden Globe Award.
Julianne Moore, (Far From Heaven, The Hours) who co-stars as Charley, Falconer’s long time friend and once lover, when he was experimenting, also delivers a brilliant performance; her character is the emotional ‘yang’ to Falconer’s ‘yin’, she exudes the carefree attitude associated with the 1960’s, yet she too, is suffering a loss of direction, import and love, all of which pours out in heated exchange with Falconer, on his last evening.
There is one other main character that occupies an emotional cross road, one of Falconer’s students, Kenny, played by Nicholas Hoult (The Weather Man, British TV series: Skins). Kenny notices an impassioned change in Falconer, as he turns his lecture, on an Aldous Huxley work, into a dissertation on fear, which itself is a self exposition, but which also stirkes a chord in Kenny, who then pursues Falconer after the lecture.
Nicholas Hoult as Kenny
Kenny senses a kind of kindred spirit, and perceives, he thinks, Falconer’s need for a friend, and uses that as an attempt to engage Falconer in conversation, initially asking him if he wants to drop mescalin. But Falconer has other plans, fatal ones. Kenny’s initial attempts to become Falconer’s friend causes Falconer to retreat.
But Kenny persists, finding Falconer at his local bar, and through his zest for life, through his optimism midst his own self doubt and unexpressed fears, Kenny acts as a catalyst for change in Falconer, who we sense has rediscovered a respect for existence, even if it is just in the moment.
Colin Firth gives an incredible performance, the range of emotions, so subtly delivered by his facial expressions, should become a template for acting students, but then, you have to really feel the full depth of emotion portrayed, to make it so believable; not many actors are able to do this consistently, especially over the course of a feature length film.
As for the director; the actors were impressed with his calm, clear and defined ideas, nothing was left to guess work, it was as if Ford had directed film for years, they said. Of course, being a world leader in the fashion industry, Ford was used to getting the look he wanted and displayed the way he saw it, without compromise. It would be that background that has paved a seamless path into the world of cinematic expression.
Of things fashion and cinematic, Ford stated, “Fashion is very fleeting, film lasts forever.”
Ford believes a film should challenge the viewer, it should leave you, in the case of A Single Man, leaving the theatre more aware of the moment, of the things around you, for in that moment of your existence, that is all you get, make the most of every moment, of every day.
I’ve heard similar sentiments expressed, in a more perfunctory way, for example, ‘you’re a long time dead!’
Falconer's dream of Jim
This film troubled me, as I have experienced the ultimate emotional loss of a loved one. Such catastrophic loss does sear the soul, gradually the harrowing emotional pain subsides in intensity, but the feeling of loss never, ever, entirely goes away. Such is the price for loving in a complete and unconditional way. So, my personal experience, in watching this film, was haunting, the loss revisited and magnified, the feeling of isolation intensified, and no, I did not feel like I appreciated the moment, but then, I had to watch the film again.
The director Ford, and DOP Eduard Grau (After Tomorrow, Peacemaker) along with Production Designer Dan Bishop and Costume Designer Arianne Phillips, have created a cinematic artwork; the manipulation of colour saturation, for example, altering the usually flattened tonal hues to a richer colour palette which thereby intensifies, enlivens and heightens the understanding of the protagonist’s mood, is artificial and directorially intrusive, yet the artifice of its delivery and its effect feels absolutely right. It has a subtlety about it that allows you to accept the almost atonal colours, which then brighten when the protagonist becomes aware of a moment of communion of spirit. The general tempo of the film is like a slow fall, graceful, elegant and inevitable.
Credit also needs to go to composer Able Korzeniowski (who re-scored Lang’s Metropolis) who received a Golden Globe nomination for best original score, as Korzeniowski creates another layer to the psychological tapestry that never distracts or disrupts, it underscores and infuses the emotional topography of the film.
Another most worthy of mention is the editor, Joan Sobel (Editor of Academy Award winning short The Accountant), who helps drive the story seamlessly.
This film is the ‘haute couture’ of cinema experience, it delivers on every level.
PRODUCTION STUDIOS:
Artina Films
Depth of Field
Fade to Black
Distributed by The Weinstein Company
Australian DIstributors: ICON FIlm Distribution
RENTAL AND RETAIL RELEASE JULY 7 2010
Image Credits, Copyrights and Permissions:
Ownership/authorship and copyrights presumed that of Production Company and/or Distributor, ALL RIGHTS RESERVED, used here in low resolution, not for copying and for purposes of the film's promotion and review only.
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Mountain Fog
Comment by Matt Shea
20/20 Filmsight
Comment by JohnDoe
Film & TV on DVD
I have been meaning to check this out for a while and I think this post has pushed to the point it will happen soon.
Comment by Deni
Abstract Magick
Cinema Herald
GREAT REVIEW.
BEAUTIFUL MOVIE TO WATCH
GREAT PERFORMANCES.
BUT....BORING!!!
I think Ford did an excellent job for his directorial debut. Watching this film was like watching an artist at work but this film just didn't do it for me.
The pacing was just a little bit too slow for me and while Colin's performance was beautiful it was too contained for someone who has to maintain a facade for so long and appear to be "normal" to the outside world for so long, and to lose his lover, his heart, his foundation - I was just disappointed that there were no cracks in the armor - which would have (IMO) made him a bit more interesting.
Comment by ShaunK
Screen Adventure
I'm amazed at how much praise Colin Firth received for this. I've been meaning to see this and will do so soon.
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
tanx for the comp., and I think you will be impressed, taking into account it is his first time directing.
It isn't set around being gay, which is a breath of fresh sir to start with, it is about isolation and loss, and not being aware of the small things that make living worthwhile.
cheers
fog
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
tanx matey, and I will be really interested to hear what you think, likewise with Matt, and/or read your own review of it.
It is, to my mind, a remarkable achievement.
cheers
fog
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
well there are people in the world today that act like his character, they are stoic and refuse to publicly display emotions, for whatever reason.
However, I would suggest that Falconer's decision to methodically prepare for his death that day is a strong indication that he is suffering, and of course, there was the explosively emotional scene, without sound, when he went to Charley's place, after learning of his lover's death, and then again with Charley on his last night, when he attacks her for suggesting his gay relationship was not real.
Basically, you would probably appreciate this film more had you being forced to live a lie, like I did for the first 24 or more years of my life, to pretend I was straight....and he was a teacher, in those days, that would have ended his career had it being discovered he was gay.
As for pace, it actually is a realistic mimic of what it is like to detach emotionally from the world when you are in a suicidal depression...
cheers and atnx for the comp and commenting!
fog
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
tanx matey, and yes, make sure you do see this film. From a technical viewpoint alone, it is an amazing achievement, possibly breaking new ground. And I loved the way the story unfolded.
cheers
fog
Comment by Deni
Abstract Magick
Cinema Herald
I agree with basically everything you said. It is realistic in every way, however realism doesn't always translate well on film.
If you filmed a day in the life of Deni, you'd be bored to tears
Anyhow - that's just me. Thanks for sharing your story and I'm glad you found the peace and freedom to be who you are.
Cheers,
Deni
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
but we were only seeing flashbacks, and it was eight months after the death, so he wouldn't be as raw emotionally, but he was depressed and most likely repressed.
I found that fascinating, however, we can agree to disagree! Then again, I also loved Up in the Air, especially the travelling scenes!
cheers
fog
Comment by Deni
Abstract Magick
Cinema Herald
I agree with everything you're saying. It's just that to me, he was just too contained. Just wasn't enough emotion underneath to make him or his journey that interesting.
I haven't seen "Up In The Air".
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
Up in the Air is fluff compared to this, however, I still think Firth gave plenty in this project, a restrained tour de force performance to my mind, you see, I liked the way it put the viewer by default into the head space, instead of everything being overt emotional exposition, it was a refreshing change for me.
cheers
fog
Comment by Deni
Abstract Magick
Cinema Herald
To each his own, with regard to Firth's performance. I thought he was good in the role if that's any consolation to you. Then again, maybe I'm retarded
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
must do that sometime.
cheers
fog