The mohair type sweater Kenny sports (who is played by Nicholas Hoult) is particularly en vogue this season. I love everything the students wear and I find the neutral earthy tones to be very inspiring for fall. The students manage to look extremely presentable and stylish yet not stuffy or overtly formal–qualities that I too am trying to incorporate into my wardrobe.
Apart from the pretty faces, I love the aesthetics of the film and it's Mad Men-like attention to detail. I like to think the reason is because Tom Ford is the director behind it all. I had my reservations about this film at first because we see so many hyphenated career descriptions are too common place nowadays, ex. model-actress-fashion designer-director-muse etc. and while it is possible to dabble in many side projects, to master each and everyone of them is highly unlikely. Ford wonderfully surprised me with his directorial debut. I am a fan of highly stylized movies and he has a definite feel of an auteur, in that he has complete grasp of how the film is supposed to sound, look and feel, down to every single rich detail. We have been inundated with so many period films featuring the 60s, it's about time that we have somebody with the proper finesse to execute their vision and set the bar high enough.
Julianne Moore was fantastic in her role as Charley, a hyper dysfunctional close friend. I feel obligated to devote more time to her style as a female myself, but it is the menswear (oh menswear) that caught my eye in the film. Big poofy hairdos, dramatic eyeliners and mod black and white dresses does not interests me as much as the interiors of her house (or menswear in general). The house is lavishly decorated with much opulence and pizzazz. The details of the furniture and choice in use of many prints reminds me of the arts and crafts movement with hints of art deco thrown in here and there.
Having visited a house designed by Frank Lloyd Wright in the past, the wooden panelling, the low cramped ceiling, the narrow corridors, the many built-in spaces, the general darkness of the house and the use of indirect lighting made me think that this house was built by the modern master himself. I wasn't too far off when I learnt that the true architect of the house, John Lautner, was an apprentice to Wright in a program at Tallesin. It must have been a challenge to film at the house, with the inconvenient lighting and inability to move around freely with little room to experiment with different angles and shots.
This is film is supposed to be about the aesthetics but it is incredibly hard to ignore Ford's frank portrayal of love between two individuals, who both just happen to be men. Colin Firth's acting was outstanding in portraying a depressed tormented man whose lover has died and lost his raison d'être (I still think he was robbed of his Oscar). Though I enjoy a good laugh and will always been in need of a sassy gay friend, it's frustrating to see how they are continually stereotyped. Another issue that bugs me is the fact that "being gay" is somehow a full time occupation, that one cannot also be leader, visionary or a thinker without the attachment of the label. So thank you Mr. Ford, for creating a film that is simultaneously intellectually stimulating and incredibly visually appealing.
Screen caps via Screen Musings