You know how they say that everyone “wants to direct”? Sometimes, fashion designers should just stay fashion designers. Even if they have the money and werewithal to produce and finance the film themselves. That being said, if you are struggling with insomnia, you might just want to try a double bill of “A Single Man” and “Bright Star.” Should do the trick.
Both movies are competing in this year’s Oscar derby. (I liked “Bright Star.”)
This review, though, I have to split into two parts. Let me first talk about the problems I had with the film, other than the fact that Tom Ford, fashion designer, wrote, produced and directed it.
Here’s the reason why fashion designers should stay out of film directing. Actual directors are trained in what may seem minor things to the average person. Things like pacing and camera angles and lighting. Watching “A Single Man,” at times is rather like watching a five-year-old let loose with Photoshop and Final Cut Pro. Sure, they might come up with some interesting things occasionally, but compared to the refinement of an actual pro using the same tools, well, it’s just no comparison.
Two words (well, four actually) come up when thinking about this movie: “pet project” and “self-indulgent.”
An example. The main character is grieving a death of his beloved. Through most of the movie, the palette is grey and drab (including his own face being washed out). On the occasions when he feels joy or something special happens, suddenly the palette is more deeply saturated with color and vibrant. It felt like a parlor trick more than a smooth movie technique. You don’t do things just because you can.
As a viewer, to me, the movie felt choppy. Some parts are in black and white, some in vibrant color, some in this “death palette.” It was annoying more than anything.
The movie is taken from a Christopher Isherwood short story, and embellished by Ford.
It rings with a poignancy that is special only to him, like a shared secret on screen.
As to what I liked about the movie, it was deeply grounded by an out-of-stereotype portrayal by Colin Firth. His acting goes a long way toward giving the movie the gravitas it seeks so badly.
Julianne Moore is fabulous, as she always is. Her hairstylist deserves special props.
As a podcaster and content creator, I can appreciate someone’s passion toward a subject. That is always to be encouraged. Although many of the visuals looked too much like an Abercromie and Fitch ad for my taste, and it was almost a lavish parade of gay obsession, I can enjoy the message of “live in the now” that the movie seemed to be saying overall.
Little moments are what seemed to resonate with the grieving lead character the most. A dance here, a party frock there, what is it that turns someone’s mood from despairing to happy?
Watching the movie, to me, was very much like turning the pages of a lovely catalogue. One pretty thing after another. But it just didn’t hold together as a movie.