Movie Review: A Single Man

There are two things you should know about me before I share my thoughts on Tom Ford’s directorial and writing debut, A Single Man. The first is I have a peculiar ‘rule’ that where a movie should have originated from a book, I must read the book first. Second, I rarely find the big screen interpretation a satisfying as the book which is why I was surprised to be so blown away by the film version. I knew it was going to be good, but not this good.

A Single Man, the movie adaptation by fashion designer Tom Ford of Christopher Isherwood’s novel of the same name is an exquisite exception. Starring Colin Firth and Julianne Moore, Tom Ford has beautifully developed and extended the character layers and background stories the novel (perhaps deliberately) lacked. The complexities and contradictions of both Firth and Moore’s characters are given life by Ford in his script and wonderful visual interpretation.

Set in 1962 with the threat of the Cold War hanging over America, the movie tells the story of a “very serious” day for English professor George Falconer (Firth) who is struggling with the routine of life as he mourns the death his partner of 16 years, Jim (Matthew Goode). Throughout the movie you are introduced to constants in George’s life – his role as a teacher in an American university, his home in Los Angeles, and his long-standing best friend Charley (Moore). You’re also introduced to characters including Kenny (played by Nicholas Hoult) whose youth and effervescent composure seems to recharge George and bring him a sense of clarity when he needs it most.

Not surprisingly given Ford’s obvious design sensibility (rising to fame under GUCCI before starting his own eponymous fashion empire) the film is an aesthetic delight. His attention to detail is painstakingly obvious. You forgive being able to see the obvious mark of a wedding band on Firth’s finger and the terrible fake tans worn by Firth and Hoult in a later scene. You form the impression that in the movie’s construction there lies a man in astute control and a definite idea of ‘how how’ things should be. Like his fashion designs, the movie’s entire visual presentation is rich, understated, classic and timeless.  The filming techniques and contrasts employed tell the story just as much as the actors delivering the lines and in some cases carries a scene with a strength and fortitude that words would only serve to tarnish.

Firth’s portrayal of the conflicted and insular George is heartbreakingly beautiful and haunted by the grief the character feels after losing his love. The ‘wear and tear’ George carries in his face, mannerisms and distaste for daily life without his partner are balanced with warm and bright flashbacks to his time with Jim, a similar warmth that you see in the contrast between George and Kenny’s appearances. As in the book, Charley is only momentarily physically present in the story yet you always know she is the only other person who truly sits in George’s heart and soul.

Ultimately what A Single Man illustrates so well is that life is light and dark, it is cruel and unfair, it is blissful and at ease. Life is a wonderful contradiction that none of us can prepare ourselves for. Tom Ford has taken what was already a touching tale of love won and lost and made it so much more. He has given A Single Man a depth, dimension and human nature that will bring a smile to your face as you share the heartwarming moments George has with both Jim and Charley and it will make you shed a tear as you experience George’s struggle as if you were right along side him.

A Single Man is in cinemas now.