Therefore, it is necessary to carry out this beginning consistently. The rhythm of the film does not seem to be drawn by the "story", but by the well-crafted freeze-frame pictures. Tom interspersed "slow play" on the one hand as a foil for the protagonist's mood, on the other hand On the one hand, it has become the director's "accomplice" in conveying fashion. Yes, with the inevitable "electric shock" behavior to fashion designers, the audience's expectations are inevitably fixed on those blockbuster stories - and therefore, single men The story becomes an assemblage of images, like an animated image created by continuously flipping through the photographer's exquisite film.
The story happened in one day, and the audience couldn't imagine what other things to support the content besides the protagonist's daily trivialities-the memory of the protagonist became the protagonist in the montage technique. The director "remembers" the narrative, and the protagonist also uses "memory" to spend the "now" in the story and expand his understanding of the "future". These two points actually coincide, so at least it can be inferred that Professor George pinned on Tom Ford's real feelings - faithful affirmation and vulnerability of gay love, doubts about self-existence, and self-deprecating self-deprecation that death is the end of life. Accept... From the death of his boyfriend of 16 years in a car accident, to the two boys George met in the process of losing his lover, to his repeated attempts to commit suicide, to the discovery of a sleeping student, he re-experienced the real existence of life Such plots can peep into Tom Ford's hidden emotional experience.
The story is repeatedly interrupted by things that reveal fashion taste, in addition to George's dressing up for the new day mentioned at the beginning, and all the preparations Geogre did before returning home and committing suicide: going to the bank to withdraw his personal safe; Put clothes, ties, shoes, buttons, keys, etc., like still-life larges; put money for servants in the bread in the refrigerator, etc. In addition, what stops the coherence of the story again is Tom Ford's lingering on "male sex" (reacting through the eyes of the protagonist George can't avoid the director's personal hobby, just as he is naked on the cover of a magazine as a news gimmick), net The half-naked body on the court; the close-up of the focused lips and the puff of smoke when the Spanish man I met at the convenience store; the hazy eyes of the student Kenny during class, the passionate body jumping into the waves, and the wet face when he got home. The embarrassing scene of clothes. The story was not originally interrupted by these things, just like the hero and heroine in the romance film kiss and make love with the plot, the flow of water makes people's eyes always focus on the direction of the story, and Tom is too sculpted on the above pictures, close-up and Slow motion makes the audience excited again and again and makes the emotions that pay attention to the flow of the story need to be re-accumulated again and again, just like the disgusting sound in KTV, when you want to devote yourself to the emotions of a song, it is uneven. The external interference always prevents your emotions from reaching the commanding heights smoothly.
However, because of this, Tom's introverted and extremely romantic nature is undoubtedly revealed, and the pictures and intermittent aesthetic characteristics even make people see his almost "beautiful" aesthetics. In an exclusive interview with Elle, the reporter asked him if he was a romantic. Tom said smartly, "Can't you tell from the movie?" The reporter quickly went down the steps and said, "I can, but I think Listen to yourself", Tom also generously admits that he is a "complete romantic". This is inseparable from his aesthetic characteristics. He is guided by the perfect horse's head, and the purpose is a "true" romance.
People who are closely related to the spiritual world and the external world may have this kind of "beautiful-romantic" complex. Tom said that "if my house is messy, I will be very annoying; I am in order, and so is my house." . Seeing this, the still life blockbuster-like story statement in "A Single Man" has reasonable rhetoric and understandable emotions.
Writing here, I gradually realized that Tom Ford's image of the common and the public, the master image created in the field of luxury design, has become a tiny gay individual and too much material in such an autobiographical film. A man who is rich, who pursues romance, and who dreams of perfection is too undifferentiated. Tom can continue to use provocative fashion concepts to continue his abrupt and cold image in the fashion industry. With such a film, he is satisfied with his "mid-life crisis", but exposes his fragile and sad three-dimensional face. Maybe people who have watched this movie and think of Tom Ford, are no longer a fashion designer who pursues perfection and are full of provocation, but an ordinary man with flesh and blood, vulnerability and bravery.
In the end, "A Single Man" considers life and death in the director's eyes with tenderness. Except for the absolute spirit of two men rushing to the ocean waves with their bare buttocks accompanied by the piano concerto in the moonlight, "A Single Man" is also A beautiful work by a gay designer.
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