Ryan McNeil
I once knew someone who dressed her best on the days she felt the worst. Days where many go to work unshaven, or wearing something grubbier than usual were the days she dressed to the nines. She felt lousy inside, but if she gussied herself up on the outside, it helped her to get through the hard part. I couldn’t help but remember her as I watched A SINGLE MAN…since it too has decided to reach for the nicest clothes in the closet, to help get itself through a particularly trying day.
Based on the novel by Christopher Isherwood, A SINGLE MAN is a day in the life of George Falconer (Colin Firth). As the day begins, we learn that George’s lover Jim has died suddenly in a car accident, leaving George despondent. Jim (Matthew Goode) has been gone for eight months, and in that time George has silently fallen deeper and deeper into despair. So much so, that on the day the film begins, George has decided to take his own life.
Under the spectre of The Cuban Missile Crisis, George begins to get his effects in order. Interestingly, he collects himself as calmly and studiously as a composer writing a symphony. However, as he plans his suicide, he still has to go through his day. He gives a lecture to his University english class, one that begins very solemn and astute, but quickly turns fiery and passionate when tipped in a particular direction. George’s vigour seems to draw in Kenny (Nicholas Hoult), a student who suddenly sees that this single man might be more than his meek demeanour lets on.
Suicide awaits, but before he can pull the trigger, he spends an evening with his friend Charlotte (Julianne Moore). “Charley” is the sort of woman who sleeps with a martini shaker on her nightstand…and she is deeply devoted to her friend George. She holds on to the briefest of encounters they shared many moons ago, perhaps in the hopes that his homosexuality is some sort of phase he’ll outgrow. Her passive aggressiveness gives George cause for his second outburst of the day…and seems to drive him closer to ending it all.
A SINGLE MAN is one of the more daring movies I’ve seen. It has no interest in spelling things out for its audience, trusting instead that we are intelligent enough to understand how broken up George is over losing the love of his life. Actually, the only device the film uses to underline this is actually a pretty original trick. When George has a momentary blip of happiness – or at least when he has to feign it – the colour quality of the movie increases in tone and saturation. When George is lost in his own sad thoughts, the colour tone and quality dips. It’s a subtle touch, so subtle that many might only think they are watching a bad reel…if they even notice at all.
Colin Firth really steps outside of his comfort zone for this film. He moves through this tremendously eventful day carrying a wealth of emotions, any of which can be triggered at any moment. His performance has a darkness to it that we rarely see from him, and it’s a side of him I hope we get to see again. His performance is one of true sorrow, and it’s a state that he exudes in his every minute gesture. Now to be fair, playing a person who is straight-laced to the point of compulsion is nothing new. what sets Firth apart is the way he bursts with passion and sorrow…both in the face of explaining prejudice, and in defending what some see as a fleeting form of love.
For me, this movie sets itself apart by being one of elegant, extraordinary visuals. This is Tom Ford’s directorial debut, and he hasn’t wasted one iota of his creative talents. The film is a work of art that could easily seem at home as an instillation at The Museum of Modern Art…or accompanying a runway fashion show in Milan. Every frame is brimming with style. Ford has taken both sublime moments of happenstance, and simple moments of the everyday and treated them with brush of delicacy, intricacy, and sadness. Ford sees the beauty that our most menial tasks are filled with, and shows them to us with tremendous sophistication. This is a tremendous directorial debut, and I truly hope we don’t have to wait too long for another helping.
All of this beauty is swell, but it wouldn’t mean anything without the deep running waters of human emotion that carries the film. A SINGLE MAN is a story of overwhelming loss. It has been presented to us in a most fashionable manner, but that is only the spoonful of sugar to help the bitter medicine go down. The film wants us to remember that people aren’t always who they appear to be. Indeed, they may seem unassuming, but that isn’t to say that their lives aren’t being turned upside down. It’s a hard subject to endure…perhaps that’s why Ford and Firth have given us those pretty pictures – only to help us withstand the pain.
Beautifully written review! I really wanted to see this film but now I wanna see it even more. I think it's so interesting that after sooo many years of being an actor, Firth finally takes a step further into "serious" acting. (Although I haven't seen every single film that he is in, so he might have done some similar stuff before)
Vanessa is correct, Hatter. This review is very nicely written. I'm hoping I see this by the end of the month so I can include it in my year end awards. PS. I know the role is small, but how did you find Julianne Moore?
I'm cautiously anticipating this movie. Your 3 1/2 may be enough to get me to go out and see it. With these sort of movies and me, it's all about whether or not I can connect to the main character early on. We shall see. Great review!
@ Vanessa… Thanks! My wife is a big fan of Firth, so I've seen just about everything he's done over the last seven years. This is easily his best work in a long time.
@ Andrew… I kinda glossed over Moore, but I did talk about her in the podcast that'll be going up tomorrow morning.
Her role is small…and while it might seem a bit hammy to some, she really plays it well. Take this for what you will, but her performance reminded me of a slightly more-together Amy Winehouse.
@ Univarn… Listen to The Matineecast tomorrow if you need a bit more convincing. The flick will likely come into play come Oscar time, so you might want to see it if only to scratch it off the list.
I've been wanting to see this one for weeks, but it's been expanding at a snail's pace. I might just have to bite the bullet and take a long drive this week. I'll be sure to catch your podcast.
I loved when the colour brightened every time George made a human connection with someone.
Great review. You rate your films out of four, I assume?
I'm so glad to see your fine, thoughtful assessment of Colin Firth in this role. Yes, he's a seriously gifted actor, and there is so much more to him than his Darcy or rom/com jaunts.
@ Danny… Believe me, it's worth the drive. Just make an evening of it.
@ Laura… The trick with the colour really gave me a smile, such a subtle way to convey his state of mind.
And yes, I rate on a scale of four. Most of the critics I follow rate from 1 – 4 so I figured I'd follow suit. Thus a 3.5 rating = 87.5%
@ Margaret… Seeing him act in roles like this makes me believe that Firth needs a new agent.