When A Single Man was first released in 2009, Tom Ford received numerous critiques in regard to one crucial part of the movie. Tom Ford’s version of George was presented with the idea of wanting to commit suicide while Christopher Isherwood’s George was tired of life, but never had any intention to kill himself. Ford’s choice to modify the story was quite controversial since it serves an unlike objective than what the novel wanted to do. Nevertheless, the alteration successfully added dramatic purpose and raised the tension of the movie. Ford’s decision to depict George as suicidal can also be seen significantly related to the melancholia concept of the film. Melancholia, in most cases, will lead to death drive. The term itself was first introduced
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I don’t understand how you can’t be concerned.”
George: “If it’s going to be a world with no time for sentiment, it’s not a world that I want to live in.”
George’s reply can be interpreted literally and figuratively. His answer is served to respond to Grant’s question, and yet, it can also be implied to his suicidal thought, that he does not want to live in the world where Jim was no longer alive. In this scene, we can see how George’s death drive overpowers his instinct to continue living. The presence of Eros is rather clear and intense in this scene, represented by two shirtless young men playing tennis in the middle of the day. As the camera zooms in to the two tennis players’ upper body part, the colour in the background changes drastically, from muted-cold tone of grey to very vivid and bright orange. The sound of conversation also noticeably fades, and the sound of the game intensifies instead, such as the sound of the ball hitting the racquet, the shoes’ contact with the red clay court, and the quick breathing of the two players. These two young men embody carnal desire and pleasure which hold George’s attention for a while; the promise of how interesting life could be if he decides to stop grieving and move on. George tore his gaze away and the background changes back to the hushed colour, indicating his choice to reject Eros’ offer and go to Thanatos’
I don’t understand how you can’t be concerned.”
George: “If it’s going to be a world with no time for sentiment, it’s not a world that I want to live in.”
George’s reply can be interpreted literally and figuratively. His answer is served to respond to Grant’s question, and yet, it can also be implied to his suicidal thought, that he does not want to live in the world where Jim was no longer alive. In this scene, we can see how George’s death drive overpowers his instinct to continue living. The presence of Eros is rather clear and intense in this scene, represented by two shirtless young men playing tennis in the middle of the day. As the camera zooms in to the two tennis players’ upper body part, the colour in the background changes drastically, from muted-cold tone of grey to very vivid and bright orange. The sound of conversation also noticeably fades, and the sound of the game intensifies instead, such as the sound of the ball hitting the racquet, the shoes’ contact with the red clay court, and the quick breathing of the two players. These two young men embody carnal desire and pleasure which hold George’s attention for a while; the promise of how interesting life could be if he decides to stop grieving and move on. George tore his gaze away and the background changes back to the hushed colour, indicating his choice to reject Eros’ offer and go to Thanatos’