A Single Man

My tolerance for the aesthetics of the sixties has a limit, and once again it has been severely compromised. What does it matter that Firth is perfection itself and Julianne can convincingly blend in with all eras of history...? The sensual images of the former fashion designer oscillating between pop art canvases and the suffocating sexual frustration of the generation of the time may have something to them, but in this case, less could be more. (04/09/2011)

A gay Vertigo by Tom Ford? While watching Single Man it may seem that it is not sufficiently rich in content and that it is made interesting only by the polished filmmaking and Colin Firth’s excellent acting. After all, it is merely a story about the protagonist’s fumbling around following the loss of the one closest to him, with flashbacks to nice moments in the past, which can come across as kitschy. With the passage of hours and days, however, the film is growing on me as an original creative work with a well-thought-out ending and nice, truthful thoughts in the main character’s monologues. The psychological study of that character in a crisis situation is the heart of the film, while the deeply felt music is its lungs. In the scene that starts in front of a billboard for Psycho, Umebayashi even employs a variation on Herrmann’s “Scotty Tails Madeline” from Vertigo. (08/18/2024)

That movie has a lot of elements that I shouldn't like, but I can't help it - I watched every detailed shot with delight. Yes, at first glance, it seems like the form is the main focus, the camera work with its penchant for close-ups and filters, but there's also content here that fits perfectly with the era. The main ace, however, is the performances, especially those of Colin Firth and Julianne Moore, who I keep liking more and more. (04/08/2015)

A truly emotional affair, wrapped in a veil of poignancy and reflection, backed by an incredible performance by Colin Firth, who is wonderfully seconded by Julianne Moore. The play with colours underlines the overall visual excellence, which is set off by the well placed cinematography. Add to that the amazing music (I'm still humming “Clock Tick”), which helps to draw the viewer more into the story. It's perhaps another case of cliché – a reflection on life and death – but with a good cast and director. The ending really got me. Unexpected and intense! (07/01/2010)

The sentiment of Falconer's memories and the sudden flare-up on the threshold of complete and devastating solitude is bearable, even suggestive within the limits of possibilities. Ford's picture needs less fashion design and more poetics. Paradoxically, for all the visual arrangement and modification, Ford somewhat misses in front of the camera what Firth's hero has to give – impulsiveness, perspective, and unpretentious tragedy. It's as if a real person is dealing with an ironed mannequin, and the power of the story has meanwhile faded into rigidity. (07/11/2010)