Besides injecting  fashion sense, it appears the man who once saved Gucci can proverbially plunge his poetic syringe into the hearts and minds of  moviegoers.

A Single Man, the directorial debut of  fashion designer Tom Ford, has seemingly brought actor Colin Firth past the realm of type-casting that has plagued a considerable span of his career. Firth, known for his always playing the always amiable English gentleman, digs deep to hone in on a subtle, yet heart wrenching performance as a homosexual English professor reeling from the loss of his lover from a tragic car accident. Firth, as George delves within a character study saturated by symbolism both abstract and poignant. His delivery is calm, piercing, and conjures the “what if” the what if that may have one asking, ’if I lost the love of my life, a forbidden love by society’s standard, how would I grieve, where could I possibly turn for condolence?”

Colin Firth, as George, contemplates life without his lover.

Seems the only person George can turn to is a neighbor, a lonely woman by the name of Charley (Julianne Moore) with a big heart. The two bond and vent, emitting their frustrations over a relationship both conflicted and loving.

But it is enough for Charley to move on and continue his life?

With this, the assumation of a thematic question, Ford directs a movie heavy with a burdening secret. Firth delivers a melancholy performance but fails to overact and emotionally manipulate his audience. For those craving a linear plot dealing with such deep subject manner, A Single Man may frustrate. But tamed, subdued viewers accustomed to a more cerebral approach in regards to drama, will walk away feeling all questions have been answered and abstractions were well executed and revealing.