A Single Man

Based on a novel by Christopher Isherwood,this film was adapted to the screen,co-produced,financed and directed by Tom Ford.

Till not so long ago,he was better known as the fashion designer who turned around Gucci. Then came along A Single Man,the story of one day in the life of a professor who’s grieving a partner of 16 years,who died in a car accident —Ford shot it in 21 days,and saw it go on to pick up an Oscar nomination,and several awards.

Isherwood himself is gay,as is Ford,and both have been in long relationships with their partners. It’s the strength of this love,“invisible” to others that infuses the film.

When a love such as that is gone abruptly,what is left is George (Firth),for whom every day begins with the realisation of that hole in his heart. There’s a beautiful line in the film as George gets up. He says he can’t understand those who get up all cheery. “It takes time for me to be George… the person who I am required to be.” Gradually,as he showers,puts on the clothes formally laid out in his drawer,and combs his hair,that George takes structure.

So slow is the film’s pace and so haltingly does George proceed with his day that you are keenly aware of how heavy time hangs on his hands. Perhaps given Ford’s background,the camera lingers longingly on eyes,hands,mouths and clothes.

Every small gesture is a reminder to him of his partner Jim (Goode),whether it is putting the record on or glancing at a photograph from long past. The texture of the film is grainy and dull —like the past where George lives. But each time he encounters the possibility of a present,in the form of a student who likes him,a stranger who comes on to him,a friend (Moore) who has always been attracted to him,even his comical attempts to kill himself “comfortably”,it resonates—in deep and pulsating colours.