Beautiful. Beautiful. Beautiful beautiful beautiful beautiful beautifuuuuul, beautiful, beautiful, beautifulbeautifulbeautiful. This is soooooooooooooooo going to be my birfday night out film (released the day after, so that will do nicely). A SINGLE MAN is the film debut of Tom Ford. As in Tom “Ye Savoiur of Gucci” Ford, as in he of advertising most provocative and now cinematic visions most extraordinary. This trailer is one of only two have ever managed to give me the bumps (this and Requiem), which oddly, features little spoken script and in a similat tennent makes time of the essense. A Single Man Based on the book by Christopher Isherwood, and is a day in the life a suicidal gay literature professor in ultra sexually repressed 1962 Los Angeles, struggling to come to terms with the death of his lover. Colin Firth and Julianna Moore take the leads; the latter, asside from being a damn incredble actress, once again proves herself the ultimate clothes horse for all that gorgeous, gorgeous vintage sixties couture… got to LOVE her! As expected this is one seriously styled film with every screen inch given the most meticulous attention you’d expect from someone like Ford… such is his keeness to express his superior taste. Many argue this is the films downfall. Stuff and Nonsense, but I’m no good at forming opinions and think its looks f**king lush liiiike… just check out 53~57secs of the trailer… JUST CHECK IT! That eye cotact, Nosssssa! But what is about Julianne Moore always ending up with fruits?
Anyhoo, here’s Bob Modello’s brilliantly articulate review, whch is why I suppose he’s a critic…
“Ford — makes, as you might expect, a stylish filmmaking debut with A Single Man. He’s visualized Isherwood’s story so elegantly — with a designer’s eye— that for a time it seems he might actually be making the film too stylish. Sleek ’60s threads, a house out of Architectural Digest, a billboard for Hitchcock’s Psycho backing an encounter with a prostitute who looks like a model — the picture-making is so tightly art-directed it initially feels a little airless. But the beige-on-gray visuals glow with warmer colors when emotions flare, and you realize that this first-time director has decided to make style strategic. George is a man who manages his feelings, and visualizing him in such pristine terms lets Ford highlight the tiniest of gestures: the finessing George does to navigate a can’t-ask-can’t-tell world; the veiled ’60s hints and glances that would never even register today; and the glimmers of hope that flare unexpectedly at the edges of despair.”
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