A Portrait of Grief

Tom Ford, one of the many men in this world everyone can agree should be given the business (if you know what I mean) and the man who once upon a time revitalized the Gucci and YSL brands as fashion powerhouses, always wanted to make the transition to the film world.

You know, like many a model before him.

But Ford, who with A Single Man makes a promising and super-stylish debut as a feature film director, wanted to make “something that meant something to me.” He decided to co-write and helm an adaptation of a “Christopher Isherwood book I read when I was 20 [because] it spoke to me…it’s such a beautifully drawn character story.”

More elaboration on the reasons why Ford wanted to bring this particular project to the silver screen is available his most revelatory Advocate cover story, so get.

Set in 1962, A Single Man tells the story of college professor George Falconer (beyond-outstanding and exquisitely played by an award-worthy Colin Firth), a 52-year-old man who cannot see his future – in Ford’s own words – after the death of his longtime partner, Jim (Matthew Goode).

On a fateful November Friday morning many months after the car accident that claimed Jim, we meet George, and we see him go about the excruciating routine of getting on with his life now that his beloved is gone.

There’s anguish everywhere, and, from simply awaking to getting ready for work to seeing his neighbors live, everything hurts.

To say that George is grief-stricken would be an understatement. Through a series of flashbacks, Ford shows us important moments in George and Jim’s lives together.

We see them meet and we see them living in love and, ultimately, we see them share one of their last evenings at home together.

We also see George receive the call that unravels his world, and Firth, sitting in his chair looking at the camera (but then again, not), letting it all wash over him, is a triumph. Subtle and beyond-powerful, his handsome face is a careful study in disbelief and pain and despair.

It’s a heartbreaking thing to witness.

But back to that fateful November Friday…. George has planned a full day that includes a gun and doesn’t include a tomorrow.

But – there’s always a but….

On that day, with emotions running rather high (as evidenced by Ford’s deliberate alteration of the film’s color palette to reflect George’s mood), and with George more weighed down by the past than ever, we also meet one of his closest friends, a socialite and fellow British expat named Charley (played by Julianne Moore, looking exquisitely boozy).

Charley, who’s always wanted George and sort of resents him for choosing Jim, is also unable to see a future, especially one without him, so she doesn’t serve as a comfort to him as much as a confirmation of what he needs to do.

There’s also Kenny (About a Boy’s Nicholas Hoult, all grown up), though, a student of his coming to terms with his true self, and a new and unexpectedly hopeful presence in George’s life.

A Single Man explores the conundrum George finds himself in by day’s end with both style and substance. It may not be a perfect film – although I quite appreciated the cruel irony of the ending – but it’s a good, solid one. Ford should be proud, and if he can tame his obvious aspirations, he’ll continue to do well in Hollywood.

The success story out of this one, of course, is Firth, who’s never been better. To watch the film is to watch him, and that’s just swell.

My Rating ***

Photo: The Weinstein Company.