Relationship struggles in films often centre on a clash of personalities when concerning one thing or another. When it’s hard to pay the rent or falling out of love, couples turn on each other to point the finger and find someone to blame. What Hollywood rarely depicts is the influence of a disorder in a relationship, especially those where social capabilities are limited. Perhaps it fails on their romantic scale, which is strange because there’s certainly enough emotive power to ride that out. If it’s good enough to be ‘It’ writer Diablo Cody’s latest project (with TV’s United States of Tara), then it must have value.

Asperger’s Syndrome is the focus in Adam, Hugh Dancy portraying the titular character who struggles to live in a social world. His inability to cope with ‘normal’ interaction increases after his father’s death, while his redundancy at work adds extra pressure in coping with the negativities of life. While support comes from friend Harlan (Frankie Faison), his life turns upside down when he meets new neighbour Beth (Aussie Rose Byrne). The idea of love changing lives is the oldest cliché in the book, but this film isn’t influenced by the sweep-me-off-my-feet ideal. It correctly depicts the truth that love is hard when there are obstacles; to shy away from that would be unrealistic. Director Max Mayer doesn’t glam them up in this adaptation either, with Beth as a frumpily-dressed and gentle being paired with a preppy and excitable Adam.

Adam effectively shows both the positive and negative sides of supporting someone with a disorder. While the film shows this through an intimate love (where there is an emotive stronghold on audiences), that only plays second fiddle to their personal discoveries. Adam’s interest in astronomy signifies the existence of worlds unknown to them – looking at the bigger picture enables them to work through the small world of their own. But as Beth finds out there are some things that take more time – the particulars of helping Adam piece the social puzzle together backfire on her in a particularly strong scene. However, the central relationship is based on the dream social model of patience, honesty and a growing love. What Adam never does is make it unbearably soppy, instead using it to show the awkward interaction between the two and their consequential understanding. For Adam, honesty is his only policy (because the concept of a lie is hard to comprehend), which directly results in numerous uncomfortable moments. This extends to meetings with Beth’s parents, who face struggles of their own as father Marty (Peter Gallagher) faces a court trial for work discrepancies. This sub-plot is woven nicely in between Adam and Beth’s ups and downs, as truths rear their ugly head and show that not all is rosy.

Mayer lets Adam creep along slowly which suits the growth of the characters, but the story never becomes dull. A beautiful soundtrack and varied camera work are aesthetically pleasing, while new plot points are constant in presenting further obstacles. It succeeds in its effect to make you more appreciative of their good moments – which are still awkward but gentle and funny, and it’s relentless in playing around with the ‘happily-ever-after’ concept. Dancy slowly develops as Adam to show his emotional growth, while Peter Gallagher is effective as his usual hard-shell self. Byrne as Beth is an interesting oddity – beautiful and demure even as a ‘spoilt’ only child. In effect she’s the most fragmented as she learns to live in two worlds. Sacrifices for love usually surround lifestyle, but Beth’s experience changes her by alerting her about prejudice and ignorance. This serves for Adam also; he understands more than anyone that fear comes from a lack of understanding.

 

Verdict:

Adam is uncomfortable but touching as a love story where social fears aren’t glossed over. Solid performances and a non-generic story help this one up.

[Rating: 4/5]

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