Tom Ford is a power player in the world of fashion, having previously chaired the houses of Yves Saint-Laurent and Gucci, as well as his own fashion line. With his self-funded film adaptation of Christopher Isherwood’s novel A Single Man he makes his directorial debut.

Colin Firth stars as the central character, a British college professor named George Falconer, living in Los Angeles in the early sixties. The film takes place within a few days of the sudden passing of George’s beloved partner of 16 years. Suffering from both the tragic death of his partner, and the oppressive, stifling homophobia and xenophobia of the times, he finds himself in a dark place. George attempts to go about his daily life, interacting with a variety of characters from close friend Charlie (Julianne Moore), to his housekeeper, to a student (Nicholas Hoult, whom you may remember from About a Boy or, more recently, the BBC show Skins) who takes an active interest in forming a connection with his professor. All the while George is haunted by a flood of memories of his past relationship and the man he loved, as he stumbles forward to a shaky, uncertain future.

The film is very stylish, bearing a close visual resemblance to high fashion print ads and commercials. The fact that Tom Ford is a designer was played up to great effect, and I’m sure fun was had by the wardrobe department selecting attire for each character (Charlie’s fashion style was practically a character unto itself). There’s no denying the look of this film was created with exacting care (not surprising considering the production team of the hit TV show Mad Men was behind the scenes here). The composition of each frame is detailed and artistic. Color saturation levels and camera technique are charged with the task of visually communicating a great deal of the story. The design and architecture of the era are perfectly modeled and take the spotlight in many scenes.

Despite the attention to detail, as well as strong performances from a seasoned cast, I still found myself wanting more story-related satisfaction after the film ended. Maybe it was the fact that the stoic protagonist didn’t open up much, so I felt like I didn’t really get to know him. At times I felt more concern for the film’s canine characters (portrayed by Ford’s own two camera-ready smooth fox terriers!) than for George Falconer. However, it may just be an issue with translating the novel into a film. It definitely didn’t for lack substance among all that style though, as the pain suffered by Professor Falconer and some of those around him shines a light on the social ills of the “good old days” (an era where people were more concerned with image than with genuine feeling and honest personal expression) and thereby provides the movie’s social comment and critique.

Overall, this is a solidly made film, one that provokes thought about some serious human issues. When all is said and done, though, there’s not a lot of lightness here (aside from some darkly comic relief inserted at a few odd moments), and many viewers may find the film depressing. I myself am now tempted to spend some time with Firth, Moore and Hoult in some of their previous work in comedies. So you may want to pick up a companion rental copy of Bridget Jones’s Diary, The Importance of Being Earnest, or Laws of Attraction to medicate yourself with laughter after your viewing of A Single Man. But first, watch it, and give yourself time and space for reflection. – [DVD] [Blu-Ray]

Drama

Rated R

DVD Release Date: 7/6/10

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