Sneaked out of the house after a quick round of linguine and meat balls to satisfy the hungry hoards and hurried down to Boulevard Cinemas to catch a Monday night screening in the farthest recesses that house the rare arty flick that actually makes the cut in this somewhat secluded town.
For a few minutes I thought I'd actually have the entire screening room to my lonesome ownesome to sit back and saturate my senses in fashion designer/turned movie director Tom Ford's exquisitely styled period mood piece, 'A Single Man'.
Three older ladies arrived just in the nick of time to keep me company on the row behind, which was just as well, as it could have been ever-so-slightly disconcerting to have found myself that far removed from the hustle and bustle and popcorn-crunching security of even a modest-sized audience.
I don't think I ever knew that Theater 14 existed back there, almost like exiting the theater and entering a secret one. Surely not due to the subject matter of the movie? In retrospect, maybe. And considering the sheer lack of a turnout to that particular show (granted, it was a rainy Monday evening), I'm hardly surprised that we don't see more of a range of films that fit into the broad 'arts' category.
For fans of Colin Firth would have to agree (and, really, how could any one not have something a soft spot for our Col?) his Oscar-nominated portrayal of meticulous British/American college professor, George surely puts him in another realm altogether from past pinnacles.
Fellow-Brit, Matthew Goode's breathtaking performance of the late, lamented Jim should serve to haunt even the most reluctant anti-liberal accidentally in an audience.
Julianne Moore soared as sad, beautiful Charley, giddy in sixties gowns, great-big hair and sumptuous surrounds. And as for Nicholas Hoult's all-American Kenny, how many viewers remember him as the adorable, misunderstood, young Marcus in About A Boy?
Savored every last second of 'A Single Man' right down to the sparse, stylish credits and stirring soundtrack. Not about to critique the sublime visual telling of this powerful story, I'll leave that to you, though the best bit of informed background info I could find to share by trawling the web was this insightful article in The Times.
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