single_man

As I look at my signed copy of a Single Man, autographed by Isherwood, I regret during our conversation I never asked about his vague ending, did George die or did he simply fall asleep – to this day the debate continues. But for me, there is no debate that Tom Ford should not have written the adaptation of a Single Man, calling to mind inexperience as a cinema-graphic director.

As I watched the film I walked into the theater knowing full well that one could not truly adapt Isherwood’s novella, but I had hoped the movie might at least capture the spirit…..there was no spirit other than another Hollywood “Gay” character drizzling the movie audience with pity tears, and melodramatic cliches.

Through the content of Isherwood, did George (who has no last name in the book) grieve over the loss of his long time partner? Yes!

Was George living in a time when partners were not considered a member of the family, unable to fully participate in the fullness of life, possibly shunned by Jim’s family after his death? Yes!

Did Isherwood portray a person on the brink of suicide, completely absorbed with depression over the loss that he could not function, NO!!!

George’s character, through the eyes of Isherwood, is defiant, willing to stand apart from the status quo, and in many ways is a model of defiance long before Stonewall; through this loss, he knew he had to move on, and was willing to do so, but like all of us, was not sure if he had enough in him to truly start a new life.  Tom Ford, unfortunately, chose the easy route, cashing in on the use of visuals with no substantive  metaphors, giving way to an Architectural Digest travelogue of a cool early 1960s modernist home (and a Don Bachardy portrait from the 70′s resting in the bathroom).

Left out of the screen adaptation is George’s visit to Jim’s  friend, a female sexual liaison from the past dying from cancer. This visit sums up the reality that his dead partner’s past is being removed from the earth, and that George must reconnect with the future.

Kenny (a student stalking George from the college) represents the future, and through a series of meetings, helps George into the present. Kenny (who does not stay the night) is George’s savior. He reminds George that his is alive, that he’s desirable, that the future is something to embrace; George goes to bed embracing the present, masturbates, and falls asleep (or dies depending on the interpretation).

The film, though expertly acted and very well cast, fails to present an intimate, and extraordinary tale Isherwood had in mind. Though I applaud the cast and their acting, it is a pity they were not given a “A Single Man” to represent. They were given a shallow adaptation by one of the 20th century masters of fiction. What I saw was yet another tale about a depressed queer man who dies.

Starting with the Berlin Stories, and Isherwood’s opening phrase, “I am a camera”, those who know his work are struck by the narrative contained within his camera. Too bad the film version of A Single Man didn’t rely on letting Isherwood’s camera tell the story.