A Single Man, a review by Jon
A Single Man ****4 out of 5
I hadn't wanted to see
A Single Man; it wasn't on my radar and the trailer hadn't struck me as anything particularly outstanding. Add to this occasional reviews of Tom Ford's film that suggested his fashion background had influenced his direction a little too much, and I wasn't convinced this would be a must see.
Then, on one of the podcasts from Simon Mayo and Mark Kermode, I heard a clip of Colin Firth's opening monologue. It was so simple and poignant that I suddenly had to see it. Firth plays George, a man still grieving for his partner Jim (Matthew Goode), killed in a car accident months before. Since then he has been trapped in melancholy and the film follows what is, as he says, "kind of a serious day for me". He'll reminisce with his closest friend, neurotic Charly (Julianne Moore) and be intrigued by a young student (Nicholas Hoult).
Now I'm not cynical enough to believe in the idea that some films are structured specifically to win awards, but it is true that studios are cynical enough to release certain types of films to attract the right attention. This year it seems a sure bet that Colin Firth will win many awards for his performance in
The King's Speech and from all accounts, they will be richly deserved. I haven't seen the film yet, but from the trailer, regardless of how brilliant he is, it seems to be the sort of role that Oscar loves. What I can say with confidence is that his moving and superlative performance in
A Single Man should have received as much if not more attention. What he delivers is incredibly moving, with an affecting simplicity that is gently stripped away to reveal a complex character in quiet turmoil. If you have any experience of grief, you won't fail to identify with the elegant opening scene especially; his voice draws you in following a dream sequence and never lets you go from then on. Nor would you want to be let go! It is all the more impressive that he is never off-screen, but for the most brief moments, yet the film never feels claustrophobic and almost seems effortless.
Julianne Moore also proves her substantial skill and at least Firth was nominated last year. That she wasn't recognised is criminal. It is a brief role, but again, a complex character and she bundles up a lifetime into her portrayal of Charly. Utterly superb and on a par with
Boogie Nights, a film I find overrated except for her. We only see the versatile Matthew Goode (
Watchmen,
Cemetary Junction) in flashback as Jim and he too works wonders with less screen-time and the relationship between the two men feels absolutely genuine. Nicholas Hoult is also excellent as an unpredictable enigma that George can't dismiss. While his might be the thinnest role of the main characters to play, Hoult still finds depth and works it with the merest expression. Strange how we have Brits playing Brits, Brits playing Americans and Americans playing Brits! Regardless, it is a perfect cast.
Perhaps we should consider that the lean and focused screenplay, so beautifully written, is the common factor for all of them. From the very start to the final moment, it is meticulous and focused. While it never loses it's sombre tone, it has an undercurrent of optimism throughout. The sparse dialogue, entirely free of exposition, is cleverly bolstered by various sub-texts that reflect the story. For instance, it is set in 1962 Los Angeles and America is suffering from Cuban crisis paranoia that gently highlights George's unique perspective. And what of his sexuality? Clearly it is his relationship with men that defines him, yet thank goodness that it isn't an issue the film feels a responsibility to. It is simply who he is and nothing more.
Tom Ford, who also wrote the film (along with David Scearce) adapting Christopher Isherwood's novel, directs his debut with an assured style that contradicts his inexperience, aside from some loose editing. Unless, that is, you want to say it is too good and suggests little personality or interpretation, but that's cynical considering his clear understanding of such sensitive characters. Future projects might reveal more, but Ford's direction here perfectly supports this screenplay this time and he employs some beautiful motifs, such as boosting the colour whenever the sombre George finds something worth paying attention to. As whatever thing it was drifts from the scene, the colour drains a little with it. You might find it obvious, but there is no denying it works and the tone is faultless throughout. Actually a Spanish prostitute demonstrates it perfectly; Ford films him like a model and he seems just a touch overdone, but the ever consistent pace and especially Firth's dialogue in fluent and seamless Spanish puts the substance back in. The balance is never lost here or anywhere else.
I usually somehow forget to mention scores, but no danger here. The final element of this spellbinding film is the haunting theme from Abel Korzeniowski and it is quite wonderful. I've left the DVD menu on while I write this so it keeps playing! Even in a short loop, it's very effective.
I would urge anyone who likes a well told story to invest their time in A Single Man. It is an easy watch, but its substance will take a hold and for viewers of a certain perspective it might haunt you in a most convincing manner.
(From Jon's Random Reviews on February 12th, 2011)
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July 27, 2024, 10:02:32 AM
