Adam

Fresh and tangy, "Adam" is not your typical summer romance. The comedy emerges naturally from the situations that surround two appealing characters who develop a sweet, slightly complicated relationship. The acting is strong, especially Hugh Dancy's characterization of the title character. Rose Byrn as Beth is as easy to watch as she is easy to like.

I liked writer and director Max Mayer's ideas. Other people might have used a broader brush, but Mayer's narrative develops a simple momentum and a believable conclusion. Mayer avoids deliberate gags or gag-reflex resolution, and creates a film that is tender and very pretty. Adding to "Adam"'s appeal was the astronomy motif with its layers of stars, planets and pulsars. I thought the metaphor linking the the universe's creation to the distance that separates objects in space was particularly resonant, and I encourage people to pay attention to shooting stars.

The adjectives used to market "Adam" include: romantic, funny, delightful, poignant, uplifting, humorous. I have to disagree with most of those, especially: funny, humorous and delightful. A comedy it is not.

But that's not to say that it isn't good. It's actually quite good. "Adam" is a tumultuous romantic relationship story centered on a young man with Asberger's syndrome. The main characters are Adam (Hugh Dancy), his love interest Beth (Rose Byrne), her father (Peter Gallagher), her mother (Amy Irving) and Adam's guardian (Frankie Faison). Each of these characters have their own story line which perfectly complements the main story. All of the characters have been vividly painted with complexity, emotion, and authenticity.

This is one of the most complete films in terms of quality of writing, direction, and overall superb technical film-making.

Of the adjectives to describe "Adam" I would use: genuine, sentimental, and heartbreaking. It is one of the best written films of its kind, but loses stars because of mis-marketing. It's not even close to a romantic comedy, perhaps it's a romantic drama if it can even be categorized.

Having a son-in-law that has Aspergers symptoms, I found the movie to be quite realistic in a non-Hollywood way. It didn't stoop to many of the clichés that several movies trying to tackle this subject fell into.

The lead actor did a great job portraying the attitude and personality of someone with Aspergers. His portrayal was quite well done, and accurate to real life situations He obviously did his homework when researching the character and the side effects of Aspergers syndrome.

Unfortunately, I found the lead female character (and the script components related to this character) to be less than believable. My personal opinion is that people with Aspergers syndrome tend to have a lack of empathy for other people (as portrayed in this movie), so it requires someone with extra empathy and forgiveness to be able to understand and relate to them (unless of course the partner has Aspergers themselves, which helps them understand and relate to the other person).

She didn't portray herself as an overly empathetic person, especially when dealing with her father's problems. Most children would be empathetic to their own parents first and foremost. She seemed to be forgiving of the lead characters flaws, but didn't really show a lot of emotion during the tense situations and unusual circumstances that cropped up.

Other than that, I thought it was a very good movie touching on this subject. If it weren't for the weak script and the issues with the lead female characterization, I would have given it a 10.

I've needed to see this movie ever since I heard about it's existence, unfortunately it was not given a proper release in the UK, so I had to wait for the US DVD to come out. It's a film about a relationship between a man with Asperger's Syndrome (Adam) and a young woman (Beth). As I have Asperger's Syndrome and I heard that this movie was well made I was understandably interested. I have tended in the past to find movies and TV shows portraying autism absurd. Fortunately this was not the case here.

The level of observation here was really very good, small things like how Adam doesn't look at people in the face, how he becomes agitated at work over comments that his boss makes that are meant to be humorous or confidence building (I am used to blank stares from my performance planner when I take things the wrong way).

At one point Adam trembles behind his bedroom door when he is being asked to come out to a social event from the other side, pretending he is not there. I've done that myself. He reminds me of me when I was at university. Food fads is another, Adam has Macaroni Cheese every night of the week. Currently I have a chicken Kiev with raw mushrooms and yellow peppers pretty much every night of the week.

Although he's very talented, he only managed to get the electrical engineering job he holds via his father convincing the boss to hire him. I was never able to convince anyone that I was worth hiring, even though I have a degree from Oxford. After several terrible years following university, I managed to get a job in an office where the head of the office was my brother-in-law. I can do the job well, and am even being promoted, getting in the door is the hard part. In the UK at least, employment rates for people with Asperger's Syndrome are upsettingly low. The idea of selling oneself in an interview doesn't work, and when you're up against people who will bend the truth to get ahead, it's really difficult. That's another good thing the film picked up on, honesty. If you're tired of guys lying to you ladies, pick up an Aspie.

I was personally moved a lot by the beginning of the movie and the end of the movie. There's an excellent introduction using the story of Le Petit Prince (The Little Prince) by Saint-Exupéry as a metaphor. I knew at this point that it was going to be a good movie, it is perhaps the most tactful and tender approach to the subject that there could be. I won't spoil the ending of the movie, but from reading what other people have said, it's very easy to mistake what is happening, obliquely, I will recommend that you concentrate on an incident concerning boxes.

I'm a few years older than Adam, and readier than he is, but love has never come my way, as there are not many Beths out there, and being 6ft 7 tall and also stocky I am not exactly of the "non-threatening male" physique typified by Hugh Dancy in this movie. My way of boring people to death with over detail is film, and even though I know that people don't want to know I will still start telling them about the history of film starting in 1888 (or if I'm feeling more loquacious, starting with Muybridge). The stupidest cosmological one I do (like Adam), is explain how novae happen in binary systems with a red giant and white dwarf. More recently I have started telling people why Sirius flickers ;) People think I am trying to make them feel stupid or inferior, which is absolutely not the case, but I still do it even though I know this, I just can't stop myself.

As an autistic, I felt that this movie was extremely tender, but also very educational and instructive, I felt almost like I was a chick being feathered off a tree limb for the first flight. "Adam" does not aim at staggering mise-en-scene, it is not an Antonioni movie, but it is possibly the worthiest film you can see. The worst thing about Asperger's is that there are many people who will tell you, even straight to your face, that it doesn't exist, even a doctor I knew was pretty much of that opinion. People associate mental disability with physical impairment, and because there is none with Asperger's (except sometimes clumsiness, or "gangliness"), for a lot of people it just doesn't register, even though there are defined and recognisable developmental symptoms. This film, in a way, is an acknowledgement that it does exist, and is proof if ever I was cynical enough to believe otherwise, that films can change the world.

Somewhere above the clear skies of a disquieted New York skyline, some hundreds of billions of miles away there are stars and galaxies, clusters of light and unknowable beauty speeding away not only from us but from themselves. Eventually it will get to the point where all is inevitably lost, and the skies will be filled with an overwhelming black; nothingness and desolate loneliness for a heaven and a barren, sun-scorched planet for a home. "That's kind of… sad" says one character. "Sad?" repeats the nonplussed hobbyist-cosmologist before turning off his home-brew planetarium. Somewhere within one of these small gatherings of light lies New York itself, and in its central park dwell two harmless furry creatures known as Racoons. In the middle of a giant city, these little guys don't necessarily belong but they just happen to be there anyway—coming out at night and playing in their own peaceful isolation when the city closes one eye for the night. This somewhat romantic dualism of being torn apart from where you should be and ending up in world quite different from where you naturally belong is the glue that binds pages of Adam's story together. Brought into melancholic focus through characters, relationships, the nuances of ordinary life and a vast array of simplistic but nevertheless heart-warming sentiments through photography and music, Adam is a humbled and interesting take on love seen through the eyes of a fellow who—like those racoons—isn't quite where he ought to be.

A gifted an ostensibly neurotic figure, Adam (Hugh Dancy) is a smart, intelligent and insightful guy-next-door type who day-to-spotlessly-repetitive-day tries to overcome his disability in order to fit in with those he shares his city-life with. As is found out late into the first act of the feature, Adam is affected by Asperger's syndrome; a condition which often means that he cannot by any means tell what other people are thinking simply by reading their faces, body language or figurative words. Instead Adam relies on honesty and literal meaning; without this, he is lost, and to many this in turn makes him out to be a naïve child-like inconvenience. All this comes into play most dramatically however when a new neighbour, Beth (Rose Byrne), moves in above Adam's apartment. Unable to quite go about his attraction to Beth in conventional manners (at one point directly asking if she was "sexually excited… because I was."), romantic life it seems isn't about to blow any sympathy points in Adam's direction. After a series of quirky encounters involving Adam's love for space and a particularly intense sequence where he avoids going out with Beth out of fear, the relationship takes its turns and develops slowly but surely into an engaging piece of alternative romance. The result is an interesting look into a convoluted form of love from a different perspective that questions the sometimes trivial dos and don'ts of adult relationships when brought to Adam's plate.

In a way, the movie echoes recent features such as The Science of Sleep by Michel Gondry and last year's Lars and the Real Girl in that it pushes the "disability" of its lead character to be the central point of its narrative rather than fleeting romance. Sure enough, Adam is by no means a saint—he's simply different, and Mayer does well to always restate Adam's humanity despite his disability; this is no mawkish weepy or over-sentimental caricature painting. Like those features mentioned above however, Adam hits the proverbial nail on the head when it comes to dishing out moments of pathos anyway; there's light-hearted, whimsy comedy here; genuine, well-developed characterisation; and romance with drama that feels slightly romanticised but not at the extent of its characters and themes. Indeed, it's not hard to imagine audiences being more than slightly moved by Adam and Beth's somewhat troubled circumstances and this is much to the film's credit in that it plays as a character-piece but feels like a traditional romantic drama without sacrificing the former's traits.

Of course with a feature such as this, it would be easy to pile on the sentiment too heavily resulting in a mawkish and tawdry handkerchief-fest steeped in melodrama but thankfully this is not the case. Instead, Adam is cemented in place with an extremely engaging performance by leading man Hugh Dancy offset with a warm, feminine portrayal by Byrne. The chemistry between the two is as palpable as director Mayer obviously intended, which is kind of refrained in between the back-and-forth nature of Adam and Beth's perceptions of each other. So while not falling for the traditional, formaliac techniques of your average romance, Meyer nevertheless crafts something genuine and real for his characters. At times their romance is sweet and whimsical, at others frantic and awkward—such is one of Adam's biggest strengths. This of course will disgruntle some audiences upon which the story's conclusion should bear no redeeming fruit, but for those looking for something a little different there nevertheless remains a certain bittersweet sense of integrity about the story that remains consistent right through to the end. It's by no means a perfect tale, no, but for what it's worth, there's undoubtedly a whole lot of interesting qualities to Adam's plight here that take on a life of their own in the truest sense of the phrase.

Heart-warming with a dry sense of humour always steeped in refrained melancholy, Adam is an impressive and oft moving tale brought to life with memorable performances and a bittersweet account of love and its entwined complexities.

• A review by Jamie Robert Ward (http://www.invocus.net)