A Single Man

I imagine reviewing A Single Man is a bit like trying to write about Tom Ford’s latest fashion collection: how many things can you say about a suit, at the end of the day?

Just like one of Tom’s impeccably tailored suits, A Single Man is traditional in structure, classic in style and doesn’t have many layers. It’s essentially a very simple, straightforward story, but just like the quality of Ford’s tailoring is in the cut and stitching, the appreciation of his first movie is in the finer details.

This 1960’s set story of an English college professor (Firth) who’s only just getting through each day after the recent death of his long-time gay lover is pretty throwaway and Ford, in basing his first movie on a highly regarded novel and avoiding getting hampered by an intricate plot, has been smart in removing a lot of the pressure on his first stab at writing and directing.

What plot there is all revolves around one day in George’s life, a day where he awakes to the usual heartache (literally and figuratively) and the dawning sensation of being bereaved and alone after 16 happy years in a gay relationship. George goes about his tightly structured morning routine – the only difference on this day being that he packs a hand gun in his briefcase, George’s intentions being gradually revealed.

There’s hints at this being the early 60’s (TV news reports of the Cuban missile crisis in the background), but really the story could take place at any time and the historical setting doesn’t have that much bearing on the main events in the movie.

Of course the film looks gorgeous and while the start of the movie feels like Tom saying “hey look, I can direct!” the overt stylistics calm down eventually and they don’t detract from the story. In fact, while Tom has gone hip and modern with the visuals, the plot devices and structure he uses are tried and tested.

Nicholas Hoult as the gay Lolita-esque student tempting George with his pouting and posturing is great and Julianne Moore gives another fine performance as George’s emotionally messy best friend and former fling.

But this is Colin Firth’s movie and his perfectly judged performance – serious and awkward but complex and likeable at the same time – holds your attention throughout the movie and is a welcome break from playing Darcy.

And while Tom Ford doesn’t want to pigeon hole A Single Man as a ‘gay movie’, there’s more homoerotica in its 100 minutes than in a college jocks’ locker room.