Rendező:
Tom FordOperatőr:
Eduard GrauSzereplők:
Colin Firth, Julianne Moore, Nicholas Hoult, Matthew Goode, Jon Kortajarena, Paulette Lamori, Ryan Simpkins, Ginnifer Goodwin, Teddy Sears, Paul Butler (több)Tartalmak(1)
Az Egyesült Államok a múlt század hatvanas éveinek elején. A kubai rakétaválság árnyékában, Los Angelesben, egy személyes dráma zajlik. George Falconer, az ötvenkét éves angol, homoszexuális professzor nyolc hónappal ezelőtt elveszítette a partnerét. Tizenhat esztendőn át élt Jimmel, a halála után nem találja a helyét. Állandóan kísérti a múlt, a Jimmel töltött pillanatok, emlékek idéződnek fel benne. 1962. november 30-án George végül úgy dönt, hogy véget vet az életének. A nap azonban bővelkedik váratlan eseményekben és találkozásokban, amelyek hozzájárulnak ahhoz, hogy George eldöntse, tartogat-e még valamit számára az élet? (HBO Europe)
(több)Recenziók (7)
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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Gay Vertigo by Tom Ford? Az Egy egyedülálló férfi című filmet nézve úgy tűnhet, hogy nincs igazán tartalma, és csak a kifinomult filmes forma és Colin Firth kiváló alakítása teszi érdekessé. Egyébként is csak a főhős tapogatózásáról szól egy szeretett személy elvesztése után, a múlt szép pillanatainak visszatekintéseivel, amelyek giccsesnek hathatnak. Ahogy azonban telnek az órák és napok, úgy nő bennem a film iránti szimpátia, mint eredeti alkotáshoz, amelynek átgondolt befejezése és szép, igaz gondolatok vannak a főszereplő monológjaiban. Az ő pszichológiai tanulmánya a válságban a film szíve, a sorsdöntő zene pedig a tüdeje. A Psycho című film óriásplakátja előtt kezdődő jelenetben Umebayashi a Herrmann „Scotty Tails Madeline” című dalát is variálja a Szédülés című filmből.
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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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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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A truly emotional affair, wrapped in a veil of poignancy and reflection, backed by an incredible performance by Colin Firth, who is wonderfully seconded by Julianne Moore. The play with colours underlines the overall visual excellence, which is set off by the well placed cinematography. Add to that the amazing music (I'm still humming “Clock Tick”), which helps to draw the viewer more into the story. It's perhaps another case of cliché – a reflection on life and death – but with a good cast and director. The ending really got me. Unexpected and intense!
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That 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 like the form is the main focus, the camera work with its penchant for close-ups and filters, but there's also content here that fits perfectly with the era. The main ace, however, is the performances, especially those of Colin Firth and Julianne Moore, who I keep liking more and more.
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