Tom Ford's "A Single Man"
Here's the trailer for "A Single Man" directed by Tom Ford (yes, the fashion and perfume designer, formerly Creative Director at Gucci and YSL).
It stars Colin Firth, Julianne Moore and Matthew Goode - all delicious - and is based on the novel by Christopher Isherwood.
Background here about the film and Tom Ford, or visit the official site for the film. Read Anna McLeod's review and Anna Byrne's take on fashion in film, both below.
You can also listen to the beautiful soundtrack, thanks to someone loading all tracks on YouTube here, or buy the A Single Man: Original Motion Picture Soundtrack
on Amazon, as well as the Christopher Isherwood
book, A Single Man.
More Tom Ford stuff to drool over here: Tom Ford. And don't you love this picture of him (right), especially the position of his hand? This guy sure knows what he's doing.
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Don't miss Anna Byrne's "Couture meets celluloid, Fashion meets film" article on our homepage.
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"A Single Man" review by Anna McLeod
Disclaimer: This review contains information about the plot so please do not continue reading if you don't want to know what happens!
Famed designer Tom Ford’s made a beautiful directional debut of his film ‘A Single Man’. Based on the book by Christopher Isherwood, Ford’s interpretation is much like his designs, this film is presented with such precision and adoration it truly is a work of master art.
From the ghostly opening scenes of Colin Firth floating naked underwater, it is clear that this film is going to be both confronting as well as deeply expressive. Essentially, this film depicts the almost unbearable pain sudden loss of a loved one can have on those left behind and how much it can completely shatter someone’s way of life. Firth plays an obsessive-compulsive college lecturer living in north California, trying to get through one final day of his life with the knowledge that he will make it his last.
His character, George Falconer, is battling to come to terms with the sudden loss of his gay partner of 16 years, Jim (Matthew Goode). The opening scene of his lifeless body sprawled onto crisp white snow with Firth laying down and kissing his bloodied lips unexpectedly throws its audience into Falconer’s messy world.
Yet although his character is deeply scarred from this loss, Firth’s typical stiff demeanor somehow seems to fit perfectly in Falconer’s body as he sets about his painstakingly organized life. Falconer has had to control all aspects of his life to keep from persecution from the judgmental world of the early 1960s.
As you are taken through his day, it is difficult not to feel both pity and frustration for him as he is reminded of his lost love as well as seemingly propositioned at every turn by another attractive man.
The film, although quite dark, is not without its touches of dry humor, particularly from Firth’s acting, but most notably from his best friend Charley (Julianne Moore) - an eccentric, divorced woman still pining for George Falconer’s attention to give her life worth.
Her desperate character breaks up serious moments of tension, reminding both audiences and Falconer himself, to see a lighter side to life - that loss of someone you love, does not also mean loss of your own life.
What makes this work particularly outstanding is Tom Ford’s use of imagery throughout the film and his ability to bring the audience into Falconer’s troubled world. Although the novel is written completely as an inner monologue of his thoughts, Ford has used screen colouring and extreme close up shots to give a window into his character’s thoughts and feelings.
Whether it is the use of a rose suddenly coming into vibrant colour or the extreme close up of a women’s red lips smiling back at him, we are given a moment of intimacy from George’s perspective.
Although Ford used colours to dictate emotions and differentiate between past and present, it was his overall use of the camera that seems to make this film so powerful.
A
s he holds close shots on individuals longer than what seems comfortable, we are forced to watch the workings of someone’s mind as if we are but eyes on the wall prying into their moments of private pain.
It is by doing this that the audience builds a strong connection with Falconer throughout his final day and through which you can see the gradual yet monumental shift in his feelings towards life.
Yet there is one scene in particular within the film that seemed to move viewers and capture the added heartache of this tragic story and it was one of the only moments George Falconer seemed to open up to his students about himself and his social minority.
Falconer touched on the fear society holds for those who are different, speaking of the panic that occurs from the thought of something you cannot see.
Such wise words on a subject that unfortunately still occurs today, yet thankfully, not to such extreme. It is for this reason that we can understand Falconer’s private struggle, his need to stay ‘invisible’ and his torment of grieving alone.
Eventually, we are able to see Falconer’s vision of life shift as he begins to appreciate those around him, and Ford’s projected simplicities of the possibilities and beauty life holds.
The film also features Nicholas Hoult, pictured right.
Watch the official trailer on YouTube.
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