Rating: 8.5/10

Writers: Tom Ford and David Scearce (screenplay), Christopher Isherwood (novel)
Director: Tom Ford
Cast: Colin Firth, Nicholas Hoult, Matthew Goode, Julianne Moore
Studio: Artina Films

This review was written by Lauren Lester. You can follow Lauren on twitter HERE.

Loss, unfortunately, is a force of life that we all experience sooner or later. Whether it’s something simple like a lost set of door keys, or shattering like the death of a loved one, loss is inherent to the human condition and must be accepted. The film A SINGLE MAN (not to be confused with the Coen Brothers’ latest movie) explores this theme and remarks how one man copes with the recent death of his partner, while adjusting to a modern time where fear of the unknown runs rampant.

Set in 1962 Los Angeles, A SINGLE MAN (based on the novel of the same name) follows a day in the life of Greg Falconer (Colin Firth), a literature professor who has been living in a haze since the tragic car accident that took Jim (Matthew Goode), his partner of 16 years. Although Greg has been trying to “just get through the god damn day” for the last eight months, today is unlike any other, it’s his last. After careful consideration, Greg has decided to take his own life, and director Tom Ford takes the audience through the thought process of a man’s chosen last day on Earth.

Marking the directorial debut of fashion designer Tom Ford, A SINGLE MAN is a sensitive and thought-provoking film that explores what it is like to feel broken in a shifting world. As we follow Greg throughout his typical day (wake up, go to work, meet a friend for dinner), Ford gives the audience intricately stylized and sumptuous interludes when Greg pauses to bask in the beauty of life itself. While other characters are too busy worrying about the impending missile crisis with Cuba, Greg stops to literally smell the roses and notice the simple, beautiful details of people. These almost art house interludes give the film an entirely different depth by allowing the actors, score, and delicate cinematography to show the audience the subtle beauties in life that can easily go unnoticed in our hectic lives. It’s almost as if Ford wanted to convey the same sentiments of THE BUCKET LIST but in a totally avant garde way.

Ford, who is known for completely transforming the once-failing House of Gucci does not abandon his meticulous eye for detail behind the camera for A SINGLE MAN. By partnering with Dan Bishop (production designer for the television series "Mad Men"), Ford perfectly creates a simple yet rich 1960s world that is similar to his advertising aesthetic.

One thing that should be noted about this film is that it is overtly sexual, though not lewd by any means. Ford is also known for unabashedly portraying sexual themes and he doesn’t exclude this from A SINGLE MAN. So if you’re uncomfortable with seeing really ripped men play tennis in slow motion, maybe skip this one and go see FANTASTIC MR. FOX instead. But please, don’t let this sway the rest of you from missing out on a beautiful film.

What makes this film truly complete are the performances given by the cast. Colin Firth takes a far leap from the Darcy (both Mark and Mister) he’s known for in his portrayal of Greg Falconer. In a role that’s already garnering Oscar buzz, Firth perfectly executes Greg’s feeling of loss and isolation after Jim’s death. In the scene where Greg learns of Jim’s death, Firth exquisitely (and silently) delivers the emotions of a man who does not want to accept this crushing news. Firth is finally given the chance to display his true acting abilities that have been hidden under the limits of romantic comedy. His performance throughout the film will rip at your heartstrings and the award nominations he’s receiving are certainly not without merit.

Performances by Julianne Moore and Nicholas Hoult not only greatly stand out on their own, but also perfectly accompany Firth’s portrayal of Greg. Moore, who plays Charlotte, Greg’s long time friend captures the role of a lonely woman who is desperately clinging to the past because she feels she doesn’t have control over her life. And Hoult, no longer the pudgy, awkward teen from ABOUT A BOY delivers a pitch-perfect American accent as Firth’s student who ultimately teaches him “We could get blown up at any minute, so we may as well live while we can.”

Ford truly could not have picked a better cast, but I wish we could have been given more of Moore’s and especially Matthew Goode’s performance (the audience only sees him in sweet little flashbacks of Greg and Jim’s relationship that sporadically pop into Greg’s head throughout the day), but maybe I’m just getting too picky. Ford presents a fantastic directorial debut and I’m excited to see what he does cinematically in the future.

Though this is certainly not a film meant for everyone, its central theme is universal: in order to truly live, one cannot focus on the past and desperately cling to memories. Depressing as it is to admit, death is imminent for all of us so we must make the most of our lives, appreciate the small details in life, jump in the ocean and go skinny-dipping. Because you never know when a day will be your last.