Direito de Amar

I loved Isherwood's novel (it's a novel, not a short story as a previous poster claimed) ever since it appeared back in 1964, to scathing reviews. Gay love wasn't taken seriously back then. Stonewall was five years away. But Isherwood was always his own man. Over the years I've mentioned the book to gay filmmakers, several of whom knew it and liked it. But all were chary of adapting a stream-of-consciousness narrative to the screen. That Tom Ford (of all people) has taken it on and done so well by it is rather astonishing. Yes, being the Fashion God that he is the film looks lovely. But it isn't all "look." Ford really understands what Isherwood was driving at. And while casting an actor as great as Colin Firth is a logical production decision, knowing what to do with him requires real talent. And Ford has talent by the ton. Matthew Goode is lovely. Nicholas Hoult a real surprise -- especially if you know him only for "About a Boy." And Julianne Moore is perfect as always. So much better (and more important) than "Brokeback Mountain."

Depression overwhelms a college professor on the anniversary of his boyfriend's tragic death in this drama written and directed by Tom Ford. As per Ford's latter 'Nocturnal Animals', this is a visually arresting and finely acted motion picture, further topped off with a superb Golden Globe nominated score. While some of Ford's imagery is a little ostentatious, he shows perfect restrain at other points, allowing Colin Firth to emote silently in close-up during a flashback in which he hears the news of his boyfriend's death by phone. Ford's use of slow motion as Firth drives along, watching neighbourhood kids and others works very well too; one truly gets the sense of Firth using the day to contemplate whether he can go on living or whether he should poetically end it all. There is, however, no escaping how slim the narrative is and not all of the subplots that crop up necessarily gel. Julianne Moore's turn as his best friend adds surprisingly little to his journey, except for some unanswered questions about their past together. It is hard to know what to make of Jon Kortajarena's gigolo either, however, Nicholas Hoult has a nice turn with a lot of suggestiveness as one of Firth's students with an unusual interest in him. Indeed, while all the little bits and pieces here might not necessarily add up, the experience of 'A Single Man' resonates long after it is over.

A startling surprise. Tom Ford's debut as a director tells, in exquisite images, a very personal story, based on a short story by Christopher Isherwood. What makes everything fly so high is a fantastic performance by Colin Firth. I've followed Colin Firth career from the very beginning "Tumbledown", "Another Country", "Apartment Zero" where he creates a character never seen on the screen before or since, "Pride and Prejudice" where he reinvented D'Arcy's character, "Fever Pitch" where he showed a new face in riveting tragicomic strokes. So I should have been prepared for something new and special and maybe I was but the effect his performance in "A Single Man" had on me was (is) totally unexpected. It changed my perception of things, it made me look inwards and think of things I had put aside. I can't wait to see it again. I saw the look of love and that look remains knocking in my mind as if to keep me awake and aware. Tom Ford takes enormous visual risks in the telling of his story. It may work for some, some others will certainly dismiss or ridicule. I, for one, stand up and applaud.

Of all the films I saw at the 66 Venice Film Festival, 12 in all, "A Single Man" is the one that stayed with me. I must admit, it wasn't love at first sight. My first reaction was a sort of rebellion against, what I felt was "far too beautiful" and slightly cold. But now, days after, the mood and guts of the film come back to my mind as if asking me to see it again. I will, as soon as possible. Behind the apparent stillness of the film there is a torrent of emotions and Colin Firth is at the very center of it. A day of grieving for a man who lived his life within a perfectly color coordinated world, coordinated in every sense of the word until death comes unexpectedly to turn everything upside down. I couldn't help but remember another Firth creation "Apartment Zero" (1988) where the color coordination of that character was gray, zero and the hinting of color coming into his life turned his world upside down. I loved and adored that performance and "A Single Man" reminds me, not so much for its similarities but for its differences. It's actually forcing me to go out and search all of Colin Firth's work I've missed. I also believe that Tom Ford, a living fashion icon, is here to stay as a filmmaker.

Tom Ford, you surprised me. I don't really follow the fashion world too closely at all, so although I naturally knew his name, I wasn't familiar with his creations. I haven't read the Christopher Isherwood novel (yet), so Colin Firth and Julianne Moore were the ones who actually got me excited for this project. And I wasn't disappointed – it actually exceeded all my expectations, and alongside Jane Campion's "Bright Star" (which unfortunately is being almost completely overlooked this awards season), it's the most poetic 2009 film I have seen so far.

Firth, always elegant and fascinating, plays George Falconer, a British professor in 1960's Los Angeles trying to cope with the death of his long-term partner, Jim (Matthew Goode). It's been eight months since Jim's death, and George decided to end his life by the end of the day – and it's this day we see in this admirable film. George spends time with his best friend Charley (the always wonderful Julianne Moore), with whom he had something in the past (and still has hopes of winning him over again), and now is an unhappy divorcée. A young pupil, Kenny (Nicholas Hoult, who has grown up a lot since "About a Boy" and "The Weather Man"), who clearly is infatuated with George, harasses him until he finally gives him the attention he craves. These two different encounters will be decisive for George. As sad as the overall tone and the theme of mourning can be, "A Single Man" is by no means depressing. Ford uses and abuses of "artsy", but very efficient and intriguing camera angles, and a classy score by Polish composer Abel Korzeniowski. Eyes, lips are shown in evidence throughout the film, and naturally, the costumes are all superb.

George's long day's journey reminds me a lot of Virginia Woolf's classic "Mrs. Dalloway". Marleen Gorris was able to do a correct but somewhat cold adaptation of Woolf's novel in 1997 (scripted by Woolf scholar and talented actress Eileen Atkins, featuring the magnificent Vanessa Redgrave in the title role), but I thought she wasn't much to blame for the film's coldness since that's one of the most complex novels to be translated to the screen. After seeing "A Single Man", I even dare to say Tom Ford could do an interesting and very personal adaptation of "Mrs. Dalloway". Also, this is one of the sexiest films since Alfonso Cuaron's "Y Tu Mama Tambien" (2001) and Bernardo Bertolucci's "The Dreamers" (2003), and Nicholas Hoult's incandescent presence has a lot to do with that. He gives an efficient, brave performance for an actor his age, and although I'm sure Jamie Bell ("Billy Elliot"), who was the first choice for the role, would've been terrific, Hoult doesn't disappoint. It's not every day we're given a film with such emotional intensity and exuberant sensuality, and "A Single Man" proves that Tom Ford is certainly a promising director, having given us not just a great first film, but one also one of the year's finest and most unusual creations. A film to be felt and celebrated, and I can't wait for the DVD - it's a keeper. 10/10.