A VISIBLE MAN
Christopher Isherwood, out of the closet
Clearly, Ford doesn’t see himself as a militant, but arriving as it does in the midst of cultural trench warfare over same-sex marriage, A Single Man packs a political wallop, particularly in two key scenes. The first is where our hero gets a phone call informing him of his beloved’s passing, along with the caveat that the funeral will be “family only.” (How many gays and lesbians have gotten that very same call? Too many to count.) The second comes toward the end of an otherwise convivial dinner with a close female friend (the always terrific Julianne Moore), who gets her head ever-so-politely handed to her by Firth when she declares his relationship with his late lover wasn’t “real.”
It was, of course, all too real. And so are the relationships of countless same-sex couples — many of whom have been together as long as Isherwood and Bachardy were (more than 30 years), many even longer. Thanks to a gay-rights movement in which Isherwood’s life and art played a hardly insignificant role, “We’re invisible” no longer applies.
A Single Manopens on December 11 in L.A. theaters. For Scott Foundas’ review, see Opening This Week.
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