A SINGLE MAN
First time writer/director Tom Ford, formerly a famous fashion designer, financed the entire production of his debut, A Single Man, out of his own pocket. That, more than anything, illuminates the care and precision with which this impressive and chilly film is made.
Colin Firth plays George Falconer, a British college professor in the sixties. George lost his homosexual partner Jim in a car accident eight months ago, and has been slowly circling the idea of committing suicide in order to erase what he considers to be a hopeless future. Even his good friend Charly (Julianne Moore) brings him little comfort. As George approaches his impending self-inflicted death, he’s confronted by beauty in the form of a student named Kenny Potter (Nicholas Hoult), who might just be an angel.
Unlike films like Brokeback Mountain, this film deals with real homosexual feelings in an overt and frank way that might leave many mainstream audiences cold. Firth’s George obviously likes younger men, and this attraction is handled without ambiguity. There is a lot of male nudity, and the beauty of the male form and male interaction provides the emotional basis for the events of the film.
Firth is a revelation here, by turns chilly and dismissive, only to reveal layers of intelligence and humor. It is a believable portrait of a man driven to the edge by loss. Also excellent is Moore in a brief cameo as George’s female friend, her eyes revealing endless depths of longing. But I was stunned by the performance of Hoult as George’s potential love interest; Hoult is beautiful, but he also manages to convey that youthful desire for knowledge and lust. His scenes with Firth tingle with electricity.
Ford’s camera lovingly caress the period sets and gorgeous costumes, as well as the copious amounts of male flesh on display throughout. Feeling almost like chilly softcore gay porn, the film feels both sterile and heartfelt. Ford composes several gorgeous shots, revealing his evident eye for style and beauty. However, so much composition leaves the film feeling a bit clinical.
I would also argue that the constant attention being paid to Firth’s George by comely young men seems a little bit odd. Would these stunning young men ever give middle-aged George the time of day in the real world? I was distracted from the story by these constant pick-ups, not believing for a second that George would ever have a chance with these model-ready boys.
The film is a worthwhile achievement despite the clinical nature of the piece, and it is especially important considering the performances. Like Brokeback Mountain before it, A Single Man breaks new ground in revealing honest human emotions.
