A Single Man – A Singular Debut
A Single Man marks the feature film directorial debut of Tom Ford. So, who the hell is Tom Ford? More than a few film-goers may have been asking themselves that very same question in recent months.
If you find yourself among that group, chances are, one of your favorite f-words is probably not ‘fashion’. Tom Ford is a fashion designer by trade. Sure, he’s been in the public eye for many years now, but none of those years have been spent as a filmmaker.
Therefore, audience members could be forgiven for sitting through the film without having a clue as to who the Director is, or where he comes from. Willing to try his hand at an entirely different f-word, for the first time, Ford’s initial directorial effort somehow translates into a resounding success on many levels.
The subtle eloquence that carries A Single Man through its one hour and thirty-nine minute run time is definitely impressive. So much so, that the finished product would seem to require the Directorial experience of a seasoned professional.
Ford and his team have managed to deliver a convincing period piece, and an engrossing character study, all at once with A Single Man. The film also represents a stellar, often lyrical addition to the growing canon of progressive gay cinema. Which begets the question, how did Ford and Co. pull it all off? Well, let’s break it down.
A postcard from California, circa 1962
From the onset, the film delivers the viewers a convincing period piece, thanks to its great costuming and art direction. A Single Man takes place in California during 1962, which was the height of the Cold War.
The wardrobe for the main protagonists, along with the movie’s mise en scène, are all dead-on examples from this not-too-long ago period of time. Likewise, the same affect is achieved with convincing reality as to the buildings, homes, and storefronts used throughout the film. In addition to the clothing and architecture, a collection of vintage automobiles parade up and down the relatively empty roads throughout the movie.
The images on-screen, even have a grainy tone, so the Director combined all of these elements and effectively conjured up the time period in the film. Therefore, when the film’s titles claim its 1962, it actually seems believable–sort of a novel idea, huh?
Story, Story and Character, character, and character
Not to be outdone by the art direction and costuming, George Falconer (Colin Firth) is the star of the show in Single Man, and he doesn’t disappoint. In short, George is a stylish guy. He’s also an English immigrant, and a college English professor, who happens to be a closeted gay man. He gets overly dramatic about waking up and getting dressed in the morning, and he’s infatuated with the appeal of early 60’s minimalist style.
He’s got mild symptoms of depression, a touch of OCD, and he’s also suicidal to boot. But who’s keeping track of all his problems, right? Much might be made of Firth’s performance as George come Oscar time, and rightfully so. All told, the performance is a tricky one to judge, since there’s so much voice-over narration running throughout the film, telling us how George feels. What works so well, is not so much what Firth does, but what he doesn’t do. The actor’s subtlety in relation to the character, voice over, and era seem to ring true throughout. When George, the character, might feel like going ballistic, Firth allows the character’s emotions to roll and unravel seamlessly via a constant, sometimes futile effort to hide George’s real feelings.
Those feelings, and Firth’s ability to emote shame and restraint in equal parts, come across as accurate for both the character, and as a closeted gay man living in 1962, which dovetail perfectly with the narration. Not an easy line to toe, but Firth pulls it off without a hitch, and the performance seems truly notable because of it.
Gay Cinema’s Lyrical new Possibilities
In addition to the look of the film, and the strength of its main character, there are some dead on examples of this distinct form of American pride and prejudice, particular to the era throughout. When George is “labeled” by one of his neighbors, he first learns about it all, thanks to his neighbor’s young daughter. The little girl innocently relates to George, that her father doesn’t want him coming over to their house for dinner, by repeating her father’s reasoning:
“You’re light in your loafers.”
The expression itself, her father’s hatred, and the hidden, but not-so-subtle judgment all smack of early 60’s America. The same can be said of the moment when George learns over the phone that his gay lover of 16 years has just died, but he won’t be invited to the funeral, because “the service is just for family.”
Both pieces of dialogue seem so simple, but what’s said, and what’s left unsaid, in each instance provides a telling verbal photograph of the era. There are quite a few fantastic lines in Single Man, and if the film is nominated, or actually wins the Oscar for Best Adapted Screenplay, much of the credit should go to the original novel of the same name by Christopher Isherwood. Ford and co-writer David Scearce shouldn’t be forgotten, but many of the lines in the film are lifted verbatim from the book, and in this case (thanks to Isherwood’s skill with dialogue), that’s actually a good thing.
A Singular Debut
To find a similarly worthy portrayal of what the landscape of the early 60’s might have looked like, as seen from a gay man’s perspective, you’d have to scour the annals of film history. Just to match the accuracy of the art direction and costuming you’d struggle. Even after searching, you’d be hard pressed to find a character, or a film that offers more from that very unique, and worthwhile frame of reference that A Single Man provides.
Ever since the release of Rob Epstein and Brian Friedman’s excellent 1995 documentary, The Celluloid Closet, there’s been an increasing awareness of Hollywood’s historically skewed portrayal of gay characters.
That awareness has led to the creation of numerous film festivals and some recent, excellent, gay themed features, including Julian Schnabel’s Before Night Falls and Ang Lee’s Brokeback Mountain. Ford’s debut should be considered in the same class as those two films, because it entertains the much overlooked point of view of a central gay character with real depth, and demands the audience to take another look at their world, from a gay disposition.
Trying to pull all of that off, is no easy feat of course, and A Single Man should be judged accordingly. Attempting to rewrite the cinematic history books, with regard to gay cinema, is no picnic either, to be sure. Tom Ford’s singular debut counts as one of a handful of films that have provided a noble start to that effort though, and that says something in of itself.
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stellar review and breakdown of this truly heart wrenching film, that firmly looks into, well, to say the least a complicated time frame in the american landscape. thanks for recognizing a film that deserves its due praise on some many levels. the dialogue is subtle with a powerful poetic tone to it all. all the characters give life to Christopher Isherwood’s novels words gracefully – never over done or played up. why can’t more film makers, actors and writers embrace that beautiful fine line in their collaborative efforts? thank you tom ford. thank you colin firth. thank you to everybody who had a hand in this film. it’s a celluloid package wrapped up gorgeously on all ends and it doesn’t disappoint, even for a moment.
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skillfully written review. just as smooth as colin firth’s oscar worthy acting in this stunning film. i’ll be on the lookout for more of your reviews. also, julianne moore should be recognized for her scene stealing performance, no matter how little of actual onscreen time she has.
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Doug McBride Reply:
February 3rd, 2010 at 8:58 pm
Thanks dopeweekend and losangelesfilmguy!!! You’re very much appreciated around these parts by yours truly. Speaking of appreciation, Julianne Moore does deserve some love for being a scene stealer in this flick. Point well taken, and definitely worth making, as is the quote by dopeweekend about the ‘complicated time frame in the american landscape.’ You folks make our site live and breathe, so again, thanks so much for the comments. If you don’t hear back from me sooner, you’ll always hear back from me later, and I read it all, so keep firing away. The film didn’t get too much love from the Academy though. I thought Firth was one of the many frontrunners, but he didn’t make the cut in the end. Any thoughts out there on the lack of nominations for A Single Man?
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I’m a huge fan of Colin Firth and this is a movie that I want to see. Not the kind of role I’ve seen him play before. Thanks for posting this as I’d not heard of this movie before.
Davina´s last blog ..Book Review for “The Narcissist: A User’s Guide”
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Doug McBride Reply:
February 4th, 2010 at 12:16 am
Thank you Davina!
I’m honored to have your comments grace this page, as you are the first female commenter I’ve had on this particular website. Firth is a class act, with or without the Oscar nomination, and A Single Man moves with the weight of his performance.
I hope you enjoy the film, and thanks again for your thoughts.
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This film really touched me, and affected me for days after I walked out of the theater. I wish that there were more films like these that could make it into the mainstream movie viewing audience’s psyche. At the end of the day a story such as this is much more important to understanding ourselves and mankind than – Avatar or Clash of the Titans, or some over budgeted popcorn blockbuster.
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