Grace Notes @ Snarkattack

Of course I was sceptical when I learnt that Tom Ford was the director for this film which is based upon a novel by British author Christopher Isherwood. I don’t think you should hold that against me: Ford belongs to a very glitzy, polished world, and the artform we associate him with is different enough to filmmaking.

I knew nothing about the film but good friend @coliwilso had mentioned that he loved it, and he watches a lot of film. I figured it would have stood out for him for very good reasons.

An English expat literature professor living in LA is coping with the sudden death of his partner Jim. We learn about Jim through flashbacks that George (Colin Firth’s character) has – his tragic death, their meeting, their love.

George is an isolated man. He has one close friend Charley (Julianne Moore), who is a link to his past in London. Naturally, the loss of his life partner has taken a toll on his mental and physical health. The surroundings filmed appear very monochromatic or contain little colour variation to reflect this.

In what seems to me a very Death In Venice-type theme (both Thomas Mann’s novella of the same name and Visconti’s glorious film), George is partially restored to life and vigour by a young, somewhat inquisitive student of his, Kenny. This youth looks like he’s stepped out of a Tom Ford fashion shoot, and this is exploited in the film. But rather than just looking like a model, Kenny is a pensive young man, and he seems genuinely concerned for his teacher’s well-being.

There is so much in this film that normally I would dismiss as indulgent, and clichéd: the colour saturation when the camera closes up on beautiful young faces. The dullness of the environs to help us better perceive George’s despair. So much care has gone into the composition of this film – in what the characters wear, lighting – in fact, I find myself wanting to use the term mise-en-scène. Just when the film starts to feel or look excessive, the excessiveness stops, as if to trick you into thinking that it couldn’t possibly be perceived as corny.

I’ve personally never seen Colin Firth in anything appalling (no, not even Bridget Jones’ Diary or St Trinian’s) and this film is a fantastic reminder that he is a consummate actor. My only real complaint was that ageing him for his role was a tad unconvincing. I need more than a dab of grey in his mop! But still, I might even be compelled to get the film on DVD…virtually unheard of for me.

I was lucky enough to see it in the Sun Theatre in Yarraville. It’s ages away from where I live, but so worth the trip. The cinemas are so sumptuous. We were in the Davis room, which has a beautiful leadlight above.