There's a lot of style to talk about in Tom Ford's A Single Man, which we saw last night. Set in Santa Monica in 1962, it's a paralyzing smörgåsbord of mid-century stylings from George's (Colin Firth) clothing, accessories (we want his glasses), home (drool) and car, to Charlotte's (Julianne Moore) clothing, hair and makeup (I need more practice with my eyeliner brush) and home. Charlotte's home, with its Hollywood Regency vibe, is in sharp contrast to George's modernist and minimal steel, glass and wood-framed house. Like Charlotte, everything about her home is a little bit over the top and dramatic, a call for attention from a woman who's just past her prime.
There's the entrance: two oversized doors, their handles set large and center; the circular silk couch which invites posing more than lounging (and which, in the interest of comfort, is forsaken for the white shag carpeted floor); and her bedroom, with its lavish dressing table. White and luxurious, like Charlotte herself, it's a high maintenance space, inhabited by a woman who relies on others to take care of her and her home (when she tells George she's cooked dinner, he's understandably skeptical); between her drinking, smoking and eye makeup, we're betting her maid earned her keep.
[images: Depth of Field/Fade to Black Productions/The Weinstein Company; for showtimes near you click here]