Why Tom Ford’s Nocturnal Animals Is A Modern Movie Masterpiece

Nocturnal Animals is a joy to watch. This Tom Ford production shows lightning sometimes strikes twice, following his earlier, enthralling film A Single Man. While circumstances in my life at the time I first watched the picture might have coloured my opinion, they only enhanced my appreciation of it.

However, I understand if you are skeptical. Many wrote off Nocturnal Animals as a melodramatic chick flick. Yet I argue it is much more, and I will give you my reasons why. Beware, spoilers abound.

Source Material

Nocturnal Animals is based upon Austin Wright’s novel Tony and Susan. I did not know this until I discussed the then-upcoming film with my friend who owned a copy. The story revolves around a manuscript of love, loss, and revenge that is dedicated and sent to Susan by her ex-husband Edward. This novel thematically mirrors their actual relationship.

The way Wright deftly switches between Susan’s reading of the story, her memories of the initial passion and inexorable decline of their relationship, and her growing alienation from her current Husband is masterful. I devoured the novel and I highly recommend it. Consequently, the excellent quality of the novel meant the production started with the right foot forward.

 

Cinematography

While Nocturnal Animals owes a great amount to Tony and Susan, the way it was filmed for the big screen makes it an excellent film in its own right.

A prime example of this is how Ford manages to make the scenes of Susan – played wonderfully by Amy Adams – reading Edward’s manuscript crackle with energy and suspense. Zooming in on Adams’ face, Ford superbly captures the insomnia and anxiety Susan feels as she scrutinises the book. The concentration in her eyes as she contemplates the piece she’s just read, along with her laboured breathing and dramatic removal of her glasses emphasise her confusion.

Additionally, the powerful scene featuring the lifeless bodies of the wife and daughter of Tony is beautifully shot, the pale skin of the deceased contrasting starkly against the tattered red couch they have been left on. These are only some examples of the mesmerising artistic direction utilised by Ford in bringing Tony and Susan to life.

 

Acting

Alongside excellent cinematography, big name actors breathe life into the characters.

Adams is superb as Susan, perfectly conveying the character’s confusion from the moment she receives the dark manuscript until the picture’s quietly explosive finale. Through subtle glances, nervous hand movements, sharp shifts in her breathing, and dull speaking tone, Adams easily communicates Susan’s disquiet throughout.

However, it is not only Adams that shines. Jake Gyllenhaal is excellent as both Edward and Tony. Ironically, while the majority of his screen time is spent playing Tony, I feel the greater of his character moments are as Edward in Susan’s flashbacks to their relationship. The moment where he stands drenched in the rain, broken as he sees Susan and her new lover Arnold kissing – just after Susan has aborted Edward’s unborn child – is particularly devastating.

Alongside them, Aaron Taylor-Johnson is great as the charismatic but deranged redneck Ray who murders Tony’s wife and daughter. Rounding things out is Michael Shannon as the grizzled sheriff Bobby who is after Ray, taking the law into his own hands after finding out he is terminally ill. The desperation Shannon depicts as Bobby becomes increasingly determined to do whatever is necessary to bring Ray to justice is unnerving.

 

Makeup and Wardrobe

Nocturnal Animals is a Tom Ford film. Just like A Single Man, its characters have to look fabulous, no matter their motivation. I find Ford’s efforts here greatly enhance the picture, nicely complementing the excellent source material, superb cinematography, and impeccable acting. Throughout Adams looks stunning, the deep red of her lipstick and dark-coloured outfits is beautifully juxtaposed against her fair skin, making her look haunted and weary. I particularly love the piercing green dress she wears in the film’s final scene when she goes to meet Edward as it only compounds the film’s ending.

Gyllenhaal also looks great in a suit during flashbacks to Susan and Edward’s initial romance. As Edward, and to a similar extent Tony’s mental state deteriorates their clothing reflects this, with both wearing more casual clothes that appear to have been unwashed for days. Furthermore, Sheriff Bobby’s Southern-style suits become less colourful and more lifeless as the film progresses, mirroring his deteriorating health. Finally, even Susan’s glimpsed husband Arnold is well portrayed by Armie Hammer in a smooth suit. This outfit hints at his infidelity, which is later proven true.

 

Score

It is thanks to its great score that I first noticed Nocturnal Animals, being drawn in by the trailer’s captivating soundtrack. Produced by Abel Korzeniowski, who also scored A Single Man, the heavy use of augmented notes on strings creates an unsettled feeling. This is evident during Tony’s tense encounter with Ray, and even more so in the devastating scene where he discovers the bodies of his Wife and Daughter.

However, the score sections that stay with me are those played during Susan’s everyday life as she reads and muses upon Edward’s dedication of his dark work to her. A lone piano and tense, sad strings beautifully accompany these quiet moments as Susan spends her time on-screen alone, suggesting she feels isolated and lonely. Truly, the sound of Nocturnal Animals greatly emphasises its dark themes.

 

Final Scene

While these components are all individually excellent, in the closing scene they beautifully come together to show the film is greater than the sum of its parts. This segment is owed entirely to Ford as it does not occur in the source material.

After reading Edward’s manuscript, Susan agrees to meet him for dinner to discuss it, and potentially rekindle their romance. She deliberates over her appearance, putting on a piercing green dress, paring back her lipstick and removing her wedding ring, her smirk suggesting adulterous thoughts. She then strides sensuously into the restaurant, sits and waits for Edward. Yet as the evening draws on, the camera throwing intermittent shots at the eatery entrance, we feel a sense of disaster. Virtually throughout the shot is maintained on Susan, Adams’ displaying visual cues that belie Susan’s fear she will be dining alone. Finally, the film’s score superbly enhances all of this with the strings reaching a mournful crescendo, the picture concluding with a prolonged shot of Susan’s face as the full realisation of everything hits her.

Now I am biased here as I saw Nocturnal Animals after I ended my first relationship. Watching the final shot of Susan’s despairing face, I empathised with her. What if I ended up like Susan: confused and alone? For anyone who has been in a similar situation, I defy you not to feel something watching this scene. To me, this is movie magic.

 

Closing Thoughts

I understand Nocturnal Animals is not for everyone. Some may feel the dialogue is lacking, the tone too violent, or the story too dark and convoluted. Yet I feel it is a gem of a film. From the engrossing plot and deep characterisation, to the gorgeous wardrobe and makeup, enchanting cinematography, and haunting score, each component helps create a stylistically slick story.

However, this is a production that is greater than the sum of its parts. When we look at key scenes such as the film’s conclusion, we see a picture that elevates itself above average popcorn fare to become a compelling examination of the human condition. Although I am biased due to my life circumstances invoking similar feelings, I believe this film has both style and substance.

Indeed, thanks to Ford, depression and death have never looked so fabulous.