122) A Single ManDirector: Tom FordYear: 2009Plot Summary: It's November 30, 1962. George Falconer, an English professor at a Los Angeles area college, is finding it difficult to cope with life. Jim, his personal partner of sixteen years, died in a car accident eight months earlier when he was visiting with family. This day, George has decided to get his affairs in order before he will commit suicide that evening.
Without a doubt one of the highlights of 2009, the underrated A Single Man is a beautiful, spiritual, sad and ultimately uplifting movie about what it means to be alive.
The meaning of life is certainly an ambitious theme, yet it's one that director Tom Ford tackles head on as he puts us in the world of George Falkoner who, after the death of his partner, struggles to see any future ahead of him and, therefore, decides that this will be his final day alive. We follow him throughout a day of in his life, gaining an insight into his isolated existence and watching as he slowly begins to find a reason to live.
His isolation is spectacularly well presented in A Single Man. First of all, both the direction and the cinematography help to put emphasis on it. For example, there's a brilliant scene in which George walks towards a sea of people coming in his direction, separated from the lives of everyone else around him. Moreover, we occasionally are shown recurring, dreamlike images of George as he struggles underwater to symbolise both his detachment and the angst he suffers from it. Second of all, it's shown through the characterisation as George is also made an outsider due to the fact he's a British man living in California. But, most of all, his homosexuality truly isolates him for the rest of society.
While some critics, upon its release, called A Single Man a 'gay movie', George's orientation, in my opinion, serves to really show just how alone and lost in the world he really is. It makes it impossible for George to ever be himself because of the intolerance society had towards homosexuality in the 1960s. The only times George is ever shown embracing his sexuality are either in the comfort of his own home in flashbacks with Jim, on an empty beach, or when speaking Spanish to another gay man outside a store. Other than that, the main character hides his true self from society as shown in the heartbreaking opening scene where we see him 'become' what society expects for him, putting on his suit and glasses like a cocoon.
Being with Jim, his partner of sixteen years, like I mentioned above, was one of his only time he let his true self shine and, therefore, the only time he was truly happy. But after his death, George can't see any pleasure in living any more and can't see any hope in the future. But, as the movie goes on, things begin to change.
Rather than being dictated by his fear of how society will accept him, as touched on in a stunning monologue in front of his class, he learns to let go of his fear and just be George. This is symbolised in a gorgeous scene where he and a homosexual student from his class impulsively go swimming naked in front of a bar on the waterfront. Moreover, he learns to live not in the past or the future but, rather, in the present, finally letting go of the sadness of his partner's death and allowing new possibilities into his life. But, the most affecting moments are when George realises the beauty in life and how much he would miss it if he were to kill himself. These are emphasised brilliantly in the direction and cinematography as the light, colour and tone become more vibrant in the moments when George sees this aforementioned beauty.
Tom Ford's direction is almost impossible to fault in A Single Man making every shot a work of art. He's usually known for his fashion design and it's not hard to tell with such elegant, ravishing and exquisite filmmaking as this. However, if there's one name that everyone should be talking about after watching A Single Man it's Colin Firth. While I've never been a fan of this, Firth gives one of the most subtle yet affecting performances that I have ever seen here and should, in my opinion, have definitely taken home to Oscar last year.
5/5
8 comments:
It's a bit clunky, structure and editingwise and he seems to stumble over the story more than anything, but these things can be easily overlooked by how beautiful it looks and sounds and how extraordinary the performances are. Firth gives one of the best of the decade, I'd rank him over Bridges. My favourite scenes were George on his own, at the start, especially his reaction to his lover's death, and the scenes where he's practicing his suicide. But what really hit me is its final profound analysis of life, and why it's worth living. Those moments of clarity.
Yeah, it's not perfect by any means. I totally agree with you on the clunky structure thing. But every time I put it on I just think "Wooooow". It's so gorgeously shot but, because it's such a deep and involving story, never lets the style outweigh the substance either. :)
I wanted to fit how affecting that scene when he finds out Jim's dead is into my review but I couldn't figure out how. He plays it with such raw honesty. I can't wait to see him in The King's Speech at the start of 2011.
Admittedly, I haven't seen Crazy Heart yet - I might as well just watch The Wrestler, it seems - but surely Bridges couldn't top this.
Haha, no, Crazy Heart is nowhere near The Wrestler and it is quite a different performance.
I always thought it looked like a poor man's version of The Wrestler. I'll have to watch it at some point cause I do like Bridges, but it's not high on my list.
Nah man, The Wrestler is a richly layered gem of contemporary cinema with the character study and social commentary melded together so naturally. It's a physical and emotional experience, I watched it again the other night and I kept getting chills every 30 seconds because of a moment that touched me poignantly. I cried at the end even though it was like my 9th viewing.
Whereas Crazy Heart is Sunday evening fodder. I mean, don't get me wrong, The Wrestler is a top 10 film hence this making it look like I'm bashing Crazy Heart but it isn't that great at all. Gyllenhaal and Bridges elevate it from average. That's all I can say, and worth watching for them.
I LOVE The Wrestler. It's the only Aronofsky film I can actually say that about because I think Requiem For A Dream and The Fountain are so pretentious. He really matured and developed himself for that one though.
Great performance, great character, great narrative and, like you said, has a powerful social commentary too.
I gotta agree with you there, both Requiem and Fountain blew me away the first time round, now having watched them a few times, they stand at a moderate 7. I'm so glad The Wrestler has stayed with me while they haven't (Pi is good). It makes me wonder if Black Swan will be the same... I've never been excited for that film (well, besides Kunis and Portman lesbianing).
Totally going tangents here. I blame yous.
Yup, we're in total agreement on Aronofsky!
When I first watched it, I absolutely adored Requiem. But, now, I see that as good as the style may be, that's really all there is going for it. Same thing with The Fountain. It's an ambitious little head-fuck of a movie, but when you actually reflect on it, that's simply all it is.
With The Wrestler, on the other hand, reflection and repeated viewings allow you to see further into the story and the character and whatnot.
I forgot all about Pi too! That was actually a pretty decent flick! :)
I quite like the look of Black Swan. I'm hoping it'll have the visuals his earlier movies but have the substance of The Wrestler too. If I'm right, it could easily be one of my highlights of the year. :)
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