Yesterday morning I eagerly waited reviews for Tom Ford’s film “A Single Man” to pour in from Venice. I’ve been intensely curious what Ford was capable of, especially with a source as near-perfect as the Christopher Isherwood novel its based on. My suspicions were more on the “probable vanity project” side of the fence, but I it looks likely I will be proven very, very wrong. In his final dispatch from Venice for indieWIRE, Shane Danielsen paints an incredible picture of the film. Read these first paragraphs (and then the rest here:
Things I expected from Tom Ford’s adaptation of Christopher Isherwood’s novel “A Single Man”: Some lovely suits. (I don’t think this was unreasonable.) Ravishing cinematography. Fastidious production design. An intense, perhaps even synesthetic affinity with the sensual world. Some well-toned ass.
All were duly accounted for.
Things I did not expect: An innate sense of composition and editing. The attentive direction of actors. (Colin Firth, in particular, delivers probably his finest performance here.) A deep feeling for cinema. With just one feature to his credit, Mr Ford has proved himself an infinitely more fluent and natural filmmaker than, say, Stephen Daldry.
Nor did I anticipate the film’s powerful emotional punch. No mere play of elegant surfaces, this is a love story – and an extraordinarily moving one. But it’s also a study of a man searching in vain for reasons to live, almost as powerful, in its way, as Louis Malle’s great “Le Fou Follet”.
For these thoughts to come from Danielsen – one of my favourite indieWIRE freelancers, and one who has been gloriously cranky in the past – makes me very, very excited to see the film Monday night in Toronto. And this gorgeous trailer only adds to that: