A Single Man (2009)
Directed by Tom Ford
Set in Los Angeles in 1962, at the height of the Cuban missile crisis, is the story of a British college professor who dwells on the past and cannot see his future. We follow him through a single day, where a series of events and encounters ultimately lead him to decide if there is a meaning to life after the death of his long time partner, Jim.
10 connections found
View:
10 connections, in both directions
What critics compared A Single Man to
Charles discovers his first recruit right in the lab when he and Raven meet scientist Hank McCoy (Nicholas Hoult, "A Single Man"), a brilliant kid with feet that look more like an ape's hands and whose obsession with hiding his mutancy makes for a romantic bond for Raven.
It’s a home that radiates warmth, and not just because Gerwig borrows a trick from Tom Ford’s A Single Man , flooding the frame with lush, saturated glow at moments of joy.
…buried ★★★★ out of 4 stars Cinematographer Eduard Grau, who also shot Tom Ford's ravishing "A Single Man," films the proceedings with sinister elegance.
But back to my point: that at any given juncture, Paul's terror is a different flavor of panicked, which Cortés visualises in a number of different ways, aided by the extremely valuable talents of Eduard Grau, the young cinematographer whose only other prominent work has been last year's grimly over-conceived A Single Man .
Cortés and cinematographer Eduard Grau ("A Single Man"), the heavy lifter here, use all kinds of tricks.
Lit by way of a Zippo, a cellular phone, a flashlight and a flare, cinematographer Eduard Grau (2009's " A Single Man ") impresses in the amount of different camera setups he is able to achieve, as well as in the different shades of color that punctuate the image depending on what Paul is using for light at any given moment.
Cinematographer Eduard Grau, whose previous work includes the sumptuous A Single Man (2009) does an amazing job making this film visually engaging.
Yet cinematographer Eduard Grau ( A Single Man ) constantly innovates with his angles and framing, making exceptional use of diegetic light sources such as a flickering flame and a mobile’s screen glow.
In combination with the references in Shigeru Umebayashi’s score (as affecting as his contribution to In the Mood for Love) and specific images (a scene involving a woman in a car, her hair covered by a silk scarf, where, heartbreakingly, the scent of a dog’s hair serves as the “madeleine”), this subjective use of color evokes Hitchcock’s Vertigo in a manner that seems effortless.
Advertisement
In only his second motion picture, and his first since 2009’s stunning A Single Man, Ford exhibits a flair for detail and narrative drive that often daunts the most accomplished filmmakers.
In 2009 fashion designer Tom Ford won over critics with his feature directing debut "A Single Man." It's taken him seven years to come up with second film but "Nocturnal Animals" is worth the wait.
In only his second attempt, following 2009’s well-received “A Single Man,” the fashion designer-turned-filmmaker has written and directed a stunning, visually stylish thriller-inside-of-a-thriller about intimacy and revenge.
For Nocturnal Animals takes dilettantism as a principle; Ford, who previously directed A Single Man , is a mimic and an unapologetic aesthete, and his liberal adaptation of Austin Wright’s novel Tony And Susan operates on the cusp of satire, playing with insincerity and indulgence as it conveys the workings of a reader’s imagination.
This is the premise for Tom Ford’s second feature film after the success of the much-praised A Single Man (2009).
Nocturnal Animals is his second foray into feature film-making and, in common with his slick freshman effort, A Single Man, it drips with opulence and “nice things”.
But Nocturnal Animals, his second feature after the modest but accomplished A Single Man, invokes a whole other John Ford anyway.
Exhibiting an all-star cast where everyone brings their A-game, this feature was even more compelling and infectious than his previously beloved, “A Single Man.” It’s a slick and sexy endeavor, assembling veteran craftsmen from all over the industry.
Much like A Single Man (which might be the best double bill for this movie) this is very much a movie about the personal, private lives of these lovers whose affection is no different from straight couples.
Advertisement
Strong performances all round, especially from Linus Roache as present-day Tom, offset the familiarity of the scenario, which has been covered in such fine films as Wilde , A Single Man and, of course, The Naked Civil Servant .
Cinematographer Eduard Grau (best known for films like Buried and A Single Man) deserves quite a bit of credit for capturing the story’s magnifcent visuals.
Operating with a keen sense of the couple's vulnerability from the outset, both in terms of their easily penetrated abode and Robyn's fragile mental state, Edgerton skilfully ratchets up the tension and, along with cinematographer Eduard Grau – who did such beautiful work on A Single Man – crafts a cool, unnerving thriller, which contains a handful of decent jump-scares before it evolves into something more emotionally rich.