A Single Man
Sony Pictures // R // $27.96 // July 6, 2010
Review by Brian Orndorf | posted July 8, 2010
Highly Recommended
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Fashion world titan Tom Ford switches gears with "A Single Man," co-writing and directing a tragic tale of love lost and (briefly) found. A '60s period piece, the velvety aesthetic challenge suits Ford's instincts; he rolls out an impossibly beautiful film adorned with the sort of ornate architecture, sumptuous photography, and set design detail that should have film fans salivating. Ford also displays a generous nature toward his cast, urging star Colin Firth to one of the best performances of his career.

George (Colin Firth) is desperate to get over the accidental death of his long-term lover, Jim (Matthew Goode, "Watchmen"), but finds the grief won't fade away. Planning his suicide, George goes about the plans needed to properly close out his life, looking to a last dinner with friend and neighbor Charlotte (Julianne Moore) as a final comfort. During his day job as an English professor, George is pursued by student Kenny (Nicholas Hoult, "About a Boy"), an aggressive young man who senses George's loneliness and longing, and helps to restore a certain light to his dreary, empty existence.

For his directorial debut, Tom Ford has thrown a substantial amount of artistic weight behind "Single Man," assuming most of the front line duties in this adaptation of Christopher Isherwood's 1964 novel. An admitted control freak and celebrated designer, Ford takes superb visual care of the film, communicating George's heartache as a dreamy Los Angeles funeral procession, planning his final hours in a land of cigarettes, suburban elegance, and burgeoning sexuality. Period details, from name brands to advertisements, are kindly fetishized, along with George's metaphorical glass home, which allows careful inspection of the neighborhood, also providing a subtle dare to outsiders who've come to judge George's homosexuality, a bravery brought on by Jim's love. "Single Man" is gorgeous from top to bottom, but I suppose it's to be expected from Ford, who's made a living making sure matters are as beautiful as humanly possible. Still, it's startling to find how evocative this feature truly is.

While the role of George plays to Firth's wheelhouse of British rigidity, the actor finds a uniquely tender pulse to express here. A man crippled by his grief, George has a plan to die with dignity, taking him out of a world that he perceives has little use for him, completely mummified by his sorrow. Firth captures that alienation with masterful precision, keeping George's outward appearance professional, but allowing Ford's camera to observe the cracks in his English veneer. Assisted by subtle color cues, Firth rocks back and forth between despair and arousal, with George finding hope in the day's various flirtations and the sexual energy emanating off of Kenny, who seems determined to acquire George -- a quest that delights the vulnerable appetite of the bereaved. Firth is a powerful force of gravitas in "Single Man," tenderly transmitting the suddenness of death and the suffocation of memories that remain.

Supporting cast members Julianne Moore and Nicholas Hoult are adequate in their respective roles, though Ford has them both attempting accents (Moore the American is doing a Brit routine, while Brit Hoult is attempting American) to increasingly ludicrous results. A convincing director, perhaps Ford's casting ideas aren't as finely honed as his visual instincts. Ginnifer Goodwin also appears briefly as George's neighbor, but her role seems part of a deleted subplot that briefly confuses the narrative.



The anamorphic widescreen (2.40:1 aspect ratio) presentation handles the complicated visual scheme quite well, though the image feels slightly dimmed to preserve the mournful moods of the picture. Colors have a pleasing hold, punching through when called upon, with reds and yellows dominating George's interior life. Black levels are calm and supportive, while skintones are dictated by the intent of the scene. Ford is reaching for a lush visual style, and the DVD respects the fragile ambiance.


The 5.1 Dolby Digital sound mix is purposeful and rich, with scoring cues flowing through the track gorgeously, easily creating a sensation of emotion with very little work. Atmospherics are limited but effective, never intruding on the powerful dialogue exchanges, which are always crisp and clear. There's very little low-end action, but dimension is felt, constructing a world of sound effects and music to help communicate the emotion.


English and English SDH subtitles are offered.


The feature-length audio commentary with writer/director Tom Ford is incredibly enlightening, with the filmmaker gracefully exploring the artistic choices that informed the creation of his film. Ford is a knowledgeable, refined individual, and his talk carefully weaves around filmmaking efforts, politics, dramatic intention, and technical achievements. There's some play-by-play, but Ford's chat reveals a director in love with the details of the frame, and someone who's clearly planned every last step of the motion picture. It's interesting and worth a listen, helping to grasp some of the more esoteric movements of the feature. Fair warning: Ford speaks in a mightily affected voice, which can feel unnatural and counterproductive to the enthusiasm on display.

"The Making of 'A Single Man'" (16:08) merges extensive film clips with cast and crew interviews, covering the history of the project and the emotional texture of the screenplay. The interviewees (filmed on-set) are thoughtful and expressive, but there's not much meat to chew on here, instead reiterating many of commentary's finer points.

A Theatrical Trailer has not been included.


George facing death, going about his business politely arranging his suicide, is the core of "Single Man," and its great source of dramatic nutrition. The plot provides Ford with a direct shot of sympathy to communicate and the execution is impeccable. Once the film falls under Kenny's spell, an adjustment period is permitted to the new inspiration, but the dramatic possibilities are frozen shut. George's pull back to the surface holds little magnitude, hobbling the film's leap for a poetic conclusion. It's a disappointing third act for "A Single Man," but it's a wound that doesn't last for very long. There's still so much cinematographic and thespian splendor to gorge on here; the anticlimactic finale barely dents the beguiling mood.

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