A Single Man, a singular triumph

Posted in ARTS to Reviews by Suzanne Lewandowski on Thursday, February 4, 2010 at 10:00 am

It came as no surprise when Oscar nominations were announced early Tuesday morning that Colin Firth garnered his first nomination for his role as a grieving, gay literature professor in A Single Man, thus singularly dispelling Colin Firth's oft typecasting as the ultimate "Mr. Darcy," originated in 1995 when he portrayed the famed Jane Austen hero in the BBC's beloved production. Indeed A Single Man features Colin Firth as George Falconer, a character on the fringes of a world not ready to accept him, who would be decidedly unwelcome in Mr. Darcy's "refined" English society. Based on a short story by Christopher Isherwood, the film heralds the directorial debut of former Gucci fashion designer Tom Ford. A Single Man, Ford says, is based on "sentiment not sexuality," and stands not as a political piece, but rather a beautiful and heartbreaking examination of love.

When the film opens, we quickly learn that George's life has been an exercise in grief, as he is still reeling from the sudden death of his lover of 16 years, Jim (Matthew Goode) and the lack of closure from this horrific event, as he is not allowed to attend the funeral services that are reserved for "family." "Living in the past is my future," he declares to himself as he constantly flashes back to happier times spent with Jim. But we slowly realize that his sadness and grief has become insurmountable—George cannot embrace his future because he has decided to take his own life. Slowly and meticulously, George sets about to do just that as he organizes his affairs, writes letters to loved ones, bids farewell to his long-time friend, boozy, self-indulged Charly (Julianne Moore) and plans the details of his suicide. However, a young college student in his literature class (Nicholas Hoult) just might challenge him to reconnect to the world and find a reason to make life worth living again.

This film is a beautifully scored revelation with powerful performances by Colin Firth, and also Nicholas Hoult as Kenny, the idealistic student. Hoult may look familiar, as he played befuddled pre-teen Marcus in Chris Weitz's 2002 film About a Boy—gone is the bowl cut and the quirky throwback fashions synonymous with his former character. Hoult is all grown up now and eager to embrace a counterculture that he feels that George embodies.

A Single Man is a film about the struggles we all face to connect to others, particularly in the face of our own challenges and private tragedies—when getting up to face the world day in and day out is a huge accomplishment and the secrets we harbor to save us can ultimately sever us more deeply from those who can help. With unrestrained humanity and sheer grace, Firth seemingly embodies the conflict and the pathos of these predicaments and shows us that "even awful things have their own kind of beauty."

*A Note on the New Management of the Art Theatre

If you haven't yet, please take in a film at the Art Theatre—with A Single Man being held over through February 11 and the Oscar nominated film for best foreign language picture, A White Ribbon due to start on February 12, it is a perfect time to see a great movie. After attending Saturday evening performances for Me and Orson Welles and A Single Man recently, I was heartened to see the new owner Sanford Hess in the lobby after both films, introducing himself, talking to film attendees, and welcoming feedback. Hess is really trying to experiment with different options for the Art Theatre and stay involved on a personal level-as C-U residents and independent media lovers, let's all be sure to go out and support these ventures.