Prior to A Single Man, fashion designer Tom Ford’s sole behind-the-camera credit was as the tailor on Quantum of Solace. It’s hardly an exhaustive resume, so for him to write, produce and direct A Single Man was a courageous step. But, judging by this elegant, moving work, his decision to put his designing career on hold has been a thoroughly successful one. With his adaptation of Christopher Isherwood’s 1964 novel, Ford has brought the same style to his filmmaking as he does to his clothes.
The Single Man in question is 52 year-old British college professor George Falconer, masterfully portrayed by Colin Firth in his best screen performance to date. Firth’s contained depiction of Falconer, a man battling to find a purpose to his life following the death of his long time partner, Jim (Matthew Goode), conveys brilliantly a man whose stoic, calm exterior belies a turbulent and pained inside.
Ford has made the look and mood of A Single Man mirror the ordered, meticulousness of its central character. It’s neat and reserved but with a passionate soul. Set in Los Angeles in 1962, it follows George on a single day, cutting back and forth to significant moments in his past as he reflects on his relationship with Jim, his lover of 16 years who recently died in a car accident.
During the course of George’s day he connects with one of his students, Kenny (Nicholas Hoult), a young man coming to terms with his own sexuality. In George’s lecture about minorities, the veiled reference to his own situation is recognized by Kenny who then turns to his professor for guidance. The resolute and taciturn George struggles with conflicting emotions, all of which etch themselves intensely on Firth’s face.
George’s day also involves dinner with an old friend and one-time lover, Charley (Julianne Moore), whose own life is in ruins. In her presence we glimpse behind George’s starched exterior, but we are also painfully aware that even with his closest friend, in his darkest hours, he is determined not to unveil his true feelings.
As you would expect with Ford, the appearance of the film is critical and in cinematographer Eduard Grau and production designer Dan Bishop, he has found people to provide A Single Man with its tasteful sheen. One underwater scene in particular is exquisitely shot. But it’s Isherwood’s rich story allied to terrific performances that have helped Ford deliver this quietly powerful triumph.
Kevin Murphy
