'I am camera with its' shutter open, quite passive, recording, not thinking.'
The first time I encountered Christopher Isherwood's work was, like for many people, during one of the many screenings of 'Cabaret' on BBC. What I remember most about the film was how beautiful Liza Minnelli looked but also how foreign, how debaucherous the whole world had seemed to me. I clearly can recall the half shock - half relief at hearing Micheal York's Brian Roberts line about sleeping with Maximillian played by Helmut Griem.
But it would be much, much later that I'd take an interest in the man himself - in his work, his diaries , his letters - but most of all his words: the beautiful, melancholy descriptions of a decade in decay, of uncertainties, of cruelties but most of all of love and all its' counterparts.
Last year, whilst attending Raindance, I had the chance to watch a documentary called 'Don and Chris: A Love Story ' which focused on Isherwood's long-time relationship with painter Don Bachardy. A beautiful film, it captured the love these two men had for each other as well as show some amazing home footage captured at the time.
So it was with great pleasure I watched 'A Single Man' as Tom Ford not only managed to capture that very Isherwood spirit but also had clearly chosen a novella which was a fictionalised account of Isherwood's life on the cusp of meeting Don.
True, George's fate is left unclear at the end - but we know that Isherwood went on to live a full life with Bachardy - a most happy number of years.
But the film, the film - that's what we are here for, isn't it?
'A Single Man' is a beautiful film to look at - it's clear that Ford's background in fashion pays off rather well. The suits and the dresses and the occasional bursts of colour remind me of the films of the 50's - particularly 'Leave Her To Heaven' with its' garish and psychotic colour palette.
On top of this he handles the action really well - considering the entire thing is set during one day in the life of George - what could potentially be a very tiresome drag instead becomes an intriguing journey into melancholy and loss.
But , it has to be mentioned, that Mr. Ford has not his stride yet. Once or twice (especially during the black-and-white beach scene) the film begins to feel like a Calvin Klein advert which detracts rather substantially from the emotional pay-off. On top of this, the tricks Mr. Ford employs do become grating after a while - the grey vs color palette to suggest momentary return of light to George's day is a fine idea but unfortunately over-used.
Colin Firth gives a masterclass in subtlety in the role of George - he is a broken man, lonely, desperate, longing. Although he sticks to his routine, it is obvious that behind the facade there is not much left - and as he prepares for what he has chosen to be essentially his last day, you feel his desire to control every aspect of his death stems from his loss of control over his life.
Julianne Moore gives beautiful support as the hysterical divorcee friend - a force of nature who can't quite accept George's choices in life. Her face looks half-ravaged with slight madness behind the eyes - and it seems quite clear that she dearly loves George even if she wants to possess him exclusively too.
A final mention must go to the film's soundtrack: an unobtrusive, subtle, haunting creation - much reminiscent of Clint Mansell's film work.
All in all a stellar debut from Tom Ford and a career milestone in for Colin Firth as well as being an accurate adaptation of Isherwood in mood and style: what more can we ask for?
A Single Man is out in the Uk on 12th February 2010.
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