WHAT'S HIDDEN, WHAT'S REVEALED

With an able assist from the MAD MEN design team, first-time director and fashion designer Tom Ford ably evokes the early 60s, with all of its awakenings and phobias, in a stunningly moving and simple tale, A SINGLE MAN, now available on DVD (and no doubt various cable outlets). Based on a Christopher Isherwood novel, the film received largely critical acclaim both here and England, yet inevitably missed many viewers to its "art house" scope. In fact, it no doubt would have escaped most viewers note, were it not for the splendid, Oscar-nominated performance of Colin Firth, playing the sad and understated college professor George Falconer, a mostly-closeted gay man (this is 1962) who has lost his lover of sixteen years in a car accident and has been forbidden by the lover's family to attend the funeral. The film spends a day in the life of this forlorn man--a particular one, where from the start it is clear he plans to end his life--and follows him through his path of trying to put his life in order. If this sounds painful, it is--so many times you want to scream out to him to stop and look at all the possibilities. But the film is so engrossing and so easy to identify with that you'll find yourself fully drawn into Falconer's experiences. As you would expect from this production team, the visuals are continually breath-taking: sensual and spot-on. Yet they never pull you out of the emotional tug provided by Firth's marvelous performance, duly deserving of the accolades it received. You so much want to reach out and help this man--and show him that life is worth living. The screenplay by Ford and David Scearce is never overly maudlin, and each time Falconer starts to move towards self-pity, a twist occurs that provides both a fresh look at life's opportunities and also some truthful comic relief. While small cameos are provided by the likes of Lee Pace (PUSHING DAISIES) and Mad Men's Jon Hamm (as a phone voice), strong support is provided by Nicholas Hoult (all grown up from ABOUT A BOY, where he was the kid befriended by Hugh Grant) as a persistent student, Matthew Goode (as the departed lover), and by Julianne Moore (in another amazing, Golden Globe-nominated performance) as the professor's long-time, somewhat boozy friend. To tell you too much more story-wise would be to give too much away, although admittedly the film is more character study than plot-twister. But you will be moved, teased, torn and in many ways healed by the lovely, direct storytelling. If you missed it in the theater as I did, you will be very happy to catch up with it in the comfort of your own space (which may ultimately be the ideal way to view this film.) Released by The Weinstein Company.