A Single Man
Reżyseria:
Tom FordZdjęcia:
Eduard GrauObsada:
Colin Firth, Julianne Moore, Nicholas Hoult, Matthew Goode, Jon Kortajarena, Paulette Lamori, Ryan Simpkins, Ginnifer Goodwin, Teddy Sears, Paul Butler (więcej)Opisy(1)
Jeden dzień – być może najważniejszy – z życia Georga Falconera (Colin Firth), profesora uniwersyteckiego, który nie może pogodzić się z tym, że właśnie stracił swoją wielką miłość. Tego dnia pozornie nieistotne spotkania i czas spędzony z dawną ukochaną (Julianne Moore), otworzą przed nim niespodziewanie szanse na nowe uczucie... (Gutek Film)
(więcej)Recenzje (5)
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.
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There is nothing like dramas that ignite a perfectly believable and psychologically dense insight from an initially promising story everyone can identify with. Because, just like George, we all have fear, and just like him, we are all part of some more or less visible minority. It is precisely the pivotal monologue of the main character from the beginning that reveals that this search, supported by a surprisingly spot-on performance from Colin Firth and Abel Korzeniowski's heartbreaking music, that cuts straight to the chase. Much more ambitious attempts could envy A Single Man for its straightforwardly perfect play of emotions, which Eduard Grau's camera takes to the very edge.
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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.
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I couldn’t believe Tom Ford is American, because he nailed the dry, precise, aristocratically detached British style of this film almost to perfection. That, together with the breathtaking formal style (beautiful production design, filters) and the excellent Colin Firth form the backbone of this lonely, bitter drama about a man who could have had it all, but instead only confusedly searched for himself. Outwardly aware and detached, inwardly torn to shreds, a role tailor-made for Firth. It's hard to criticize and look for flaws, maybe only a lot of long passages and not all of them are entertaining, the vague gay parallel that didn't even need to be there so vehemently, the reproachful Julianne Moore. But anything where the lead is alone is great. Amazing music.
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This 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 that the form is the main focus, the camera work that likes close-ups and filters, but there is also the content that fits perfectly into the era. However, the main ace are the performances, especially those of Colin Firth and Julianne Moore, who I like more and more.
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