Mr. Ford, who shares screenwriting credit with David Scearce, introduces a gun largely because the novel has so little obvious dramatic tension. "A Single Man" is told from the point of view of its hero, George (Colin Firth), the single man. But George, the middle-aged professor and single man of the title whom Mr. Firth plays with a magnificent depth of feeling, has had his heart broken, and the pieces are still falling. The film opens with an image of George slowly sinking naked in water, a vision suggestive of rebirth and fatal submersion. But he is also a homosexual, which helps set him and his lusting, fading body apart from almost everyone in his life. That Mr. Ford has placed so much weight on Mr. Firth suggests that he knows how valuable his actor is to his first effort. The face of grief that the actor Colin Firth wears in “A Single Man” is crumpled and gray. Along the way, he passes in and out of the Los Angeles area college where he teaches Huxley to bored students who stare at him with curiosity when the subject turns to invisible minorities and fear. He projects a cool, impenetrable facade. I think it was Ford's responsibility to suggest it, perhaps through violations of the facade: a stain left overlooked on a tie, a careless remark, a car badly parked. If Ford doesn't scream inside, and I have no reason to believe he does, perhaps the film faithfully reflects his idea of himself and George. She tries to kiss him, says maybe "we could still make a go of it," but that's a lie neither one believes.
It has been eight months since his lover died, and he still grieves. I assume the film faithfully reflects George's idea of who he is, how he behaves, and what it means. When events take place to interrupt his routine, he tries to maintain his demeanor unchanged. In A Single Man, based on Christopher Isherwood’s novel, Firth goes deeper into his emotional rabbit hole and is even more expressive. Over the years he worked frequently on movies (his masterly novella, Prater Violet, was based on his experience of co-writing the 1934 Berthold Viertel film Little Friend), and when he and WH Auden left Britain just before the outbreak of the Second World War, Auden settled into the literary world of New York while Isherwood travelled west to be close to Hollywood and to California-based students of eastern religions.
It’s hard to know if Mr. Ford’s most flamboyant visual flourish, the use of a changeable palette to show shifts in George’s mood the character’s normally gray face floods with color in the presence of another life force, like Kenny was born out of a filmmaking conceit or a lack of confidence. Born in 1904, Isherwood grew up with the cinema, was fascinated by the relationship between literature and the new medium, and his most famous line occurs his most celebrated book, Goodbye to Berlin: "I am a camera with its shutter open, quite passive, recording, not thinking." Exposed to searching close-ups throughout, Colin Firth gives the performance of his career as George, and subtle, and sometimes not so subtle, gradations of colour and visual texture reflect and complement his changing moods as the day goes on. There is little movement in the face initially: it’s a beautiful and gently furrowed mask, not yet old, despite the small brushstrokes of white at the temples. Growing up in Britain as he did in the 1920s and 1930s, he must have found few people with whom he could share his true nature. As Ford's first film, this story, based on a novel by Christopher Isherwood, must have had special meaning. Directed by Tom Ford; written by Mr. Ford and David Scearce, based on the novel by Christopher Isherwood; director of photography, Eduard Grau; edited by Joan Sobel; music by Abel Korzeniowski; additional music by Shigeru Umebayashi; production designer, Dan Bishop; produced by Mr. Ford, Chris Weitz, Andrew Miano and Robert Salerno; released by the Weinstein Company. He's played by Colin Firth with an unforgettable intensity. A central theme is ageing and mortality, the inevitability of one's own death and that of those you love.
hristopher Isherwood was one of the great prose writers of the 20th century, a man of complexity, honesty and wit, and the fashion designer. When the book appeared in 1964 the novelist and critic Stanley Kauffmann noted in his perceptive review striking resemblances between A Single Man and Thomas Mann's Death in Venice, and he even suggested it might well have been called "Death in Venice, Cal". He has two particularly remarkable encounters, one with an old friend, the other with a young student. Now, in California, he had only his lover, and his lover is dead. “A Single Man” is rated R. (Under 17 requires accompanying parent or adult guardian.) Charley is seen in his way, which may not be hers. Never mind what he was referring to. Colin Firth in a scene from the film “A Single Man,” directed by Tom Ford. Perhaps our imagination is a protective strategy.
... New York Magazine Reviews. A disintegration.
But Mr. Ford, one of the most famous names in fashion and in luxury branding he was the longtime creative director of Gucci has taken an enormous chance just by taking on “A Single Man,” a foundational text in modern gay literature. I sensed there were shrieks of terror and anger inside, bottled up for years. The film features a lot of smoking and drinking, the usual adult expletives and one startling urination fantasy. It’s axiomatic, at least for Chekhov and a lot of Hollywood directors that if you introduce a gun in the first act, it must go off in the third.
Isherwood touched on Hollywood in The World in the Evening, his first novel set in America, and satirised it in the adaptation of Waugh's The Loved One that he made with Terry Southern, which he spoke of as his most enjoyable experience in the cinema.
More happens later in the evening, but you will see for yourself. While engaging in reveries and flashbacks, George goes about his business as a teacher, conducting a class on Aldous Huxley's After Many a Summer Dies the Swan and challenging his students to think about conformity and prejudice.
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