Young Adam

Okay, this film isn't for everyone. A little dreary, a little bleak, and the love scenes weren't always attractive, but something in the dark simplicity got me.

McGregor is incredibly versatile, I didn't think once of the bohemian poet Christian, or of Obi Wan... he's taken on an unlikeable character with a slow moving plot and pulled it off beautifully.

Tilda Swinton plays the antithesis of a Hollywood seductress, which makes some of the love scenes uncomfortable, but refreshing. The acting, as a whole, is the entire film. The action between characters is subtle and intense, and although I may be biased as an Ewan fan, I thought it was perfect for a dark, rainy night!

What an emotionless portrayal of an emotionless man. Ewan yet again proves that he is a force in both the Hollywood community and in the independent forum. Not only for having the bravery to go against American cliché and fight to keep his full frontal nudity in the film, but also for having the gumption to take this role. This is not your average character. Joe is not your normal 'hero'. In fact, I would go so far as to say that he represents all of us. He is, sadly, our 'hero'. Joe (and Ewan portrays this perfectly) is constantly looking for happiness and acceptance, but somehow cannot find it due to the sexual urges that he has. It is interesting to see him want to have emotion, but yet have no issues with sleeping with another man's wife. This is a story of maturity for Joe, but sadly we do not ever see it. When I was watching this film I was continually thinking of the film Alfie (not the new release, but the older) in which a man embarks on several relationships and ultimately ends up with nothing. That is very similar to the story that we have here, only Young Adam is much grittier and darker … and, well, more explicit.

So many times in cinema we watch two actors give heartbreaking performances on screen, but just do not have the chemistry needed to really pull together those intense sex scenes. That is not the case here. The chemistry and raw emotion between Ewan and Tilda Swinton is phenomenal. I have not seen a better match up in cinema in a long time. This successfully added that extra intensity to their moments of glory. I was able to feel and see their emotion and passion for each other on the screen. It was exactly what this film needed to reach the next level.

I know this story is based off a book, but I felt that director David Mackenzie did a fantastic job of setting the mood and the scenes. He amazingly built this sense of claustrophobia that surrounded Joe from not only inside the boat, but also under the truck and in the second apartment. There was even that feeling at the trial. This claustrophobia is one of the reasons why Joe never stays in one place for very long. While some will argue that he is nothing more than a heartless womanizer and a coward, I saw him as a tragic spirit searching for the lifelong happiness that he could never find. His conscious was too heavy on him to ever find that perfect place. Mackenzie allowed Ewan to find this character, and this powerful drama was transformed well into the screen.

Finally, I would like to add that Ewan would not have been worth seeing in this film if it wasn't for the impressive Tilda Swinton who is seemingly in everything lately and gives nothing less than 110%. I have not seen anything that she has been in that was anything below good. She is our next Oscar winner and one of those actresses that are not afraid to get dirty. Her portrayal of Ella is no different. While others would have simply just played the part, Swinton creates the part and gives this film the backbone that it deserves. She nearly steals every scene from Ewan, and that is impressive.

Overall, Young Adam is a deeply disturbing and depressing film that is not for everyone, but will be enjoyed by those that are fans of this genre.

Grade: **** out of *****

A thoughtful, unapologetic and non judgmental character study of Joe, one man, one distinctly unique yet common man. It is presented in the context of a mystery, but this is no mystery thriller. Thrill seekers, go elsewhere.

If you crave action, dialog, explanations and clear resolutions to a plot, I suggest you avoid this film. If you are fascinated by human complexity, admire beautifully crafted film-making, and can think and observe for yourself, this may be a rewarding experience for you. If you love and understand great acting you must see this film.

It is exquisitely filmed, in an understated and confident manner, using hue and tint as artfully as any great painter. Joe lives in a drab and uninspiring world, mostly of interiors; tight, constricted places, where the inhabitants are caged too closely, too much ever present in each other's spaces. When we are occasionally brought out into the world at large, this tight confining world is often seen to be surrounded by a distant, unreachable beauty. There are subtly beautiful panoramas of the lush greenness of Scotland off in the distance, out of reach of Joe, of all the people of his world.

The structure, the editing, the weaving of time present and time past is without conceit. There is no "look at how cleverly I did that transition" cutting. It is a perfect representation of editing unseen, unnoticed, the mark of brilliant editing. Everything comes together, simply and without explanation. Characters are presented simply, without prelude. Events occur, without justification. You must think and observe for yourself. If there are conclusions to be made, they must be yours.

If for no other reason, see this film to experience Ewan McGregor: He has been a reasonably attractive and adequate performer, in mostly rather forgettable productions, until now. Here he suddenly emerges as an actor of astounding depth and complexity, inhabiting, living, revealing another soul. Without any reservation this is a great performance. His subtlety, his inner directed creation of a complete individual, is simply remarkable. It is a complete, compelling, always true performance. You cannot look away from Joe. You must follow him, know him. Do you know him? Can you ever really know him?

The plot, what little of it there is, unfolds through character and behavior, with a minimum of dialog. There is much complete silence in this film. The score is understated, never telegraphing what you are supposed to feel or think. Indeed, I doubt that there is an answer to any question here. Who is Joe? What is Joe? That is not the point.

Here is Joe. This is what he is, this is what he has done. What will he do now? There is a quiet suspense, never quite gratified, which begins with the very first frame,a corpse, gently floating, photographed darkly, from below, so dark there is no face. A deceased, faceless female human being.

Joe's is the first face we see. That first glimpse of his eyes, told me that nothing would be what it seemed in this film. Joe sees something we do not see. So begins the mystery.

Nothing is jarring, nothing is false. Life is simply never quite what we think it is. Make no mistake. There is a real mystery here to be revealed. Not a contrived, plot dependent series of revelations. It is the unpeeling of the layers of a human being.

Much has been mentioned in this forum about the frequent sex scenes. They are achingly non-erotic, distanced and cold, and ultimately only functional. It is a passionless, desperate, mutually using and abusing kind of sex. Only one scene has heat. And that scene is not really sex. It is frustration, anger, vengeance, humiliation and desperation. This scene is truly horrible, truly frightening and truly revelatory.

I haven't told you much about the plot. That is deliberate. The plot works. It reveals the character. The progression of events is true, often surprising, but never false, never contrived. If you need to be told what is happening and why, this is not for you.

If you love great acting, by all involved, and appreciate the crafts and arts of film construction, I highly recommend "Young Adam".

(I have one question for anyone out there who might have a feasible answer: the title confounds me. There is no Adam. Nor is there any reference to an Adam. I could draw no path to or from Genesis. So why is this called "Young Adam"?)

Young Adam is a powerful and atmospheric drama set on the canals between Glasgow and Edinburgh during the 1950s.

Ewan McGregor is Joe, a drifter working on a barge, when he and his boss find a body in the canal. As he begins an affair with the bargeman's wife (Tilda Swinton), we find out more about his previous relationship with the drowned woman (Emily Mortimer).

Adapted from the novel by Scottish Beat writer Alexander Trocchi, Young Adam is, in some ways, a kitchen sink drama – a vivid picture of working class life in its unpleasant reality. One of the best examples of this type of film is Room at the Top (1959). But Young Adam has existentialist overtones: Joe is alienated and passive, and not only do his numerous sexual couplings offer him little pleasure, but in rejecting the only thing that could redeem him, he condemns himself to a meaningless life. This might sound too depressing, but screenwriter and director David Mackenzie gives the film great depth and sensuality. Very interesting. ****/***** stars.

The films focus on translating the novels first person perspective is clearly an obsession for this director. Never is the audiences attention allowed outside of Joe's point of view. We see only what he sees, we hear nothing more and we remember his life in little snatches, moments of dark disgusting and secret clarity he keeps from the world.

The film starts with a corpse, a barely dressed woman floating in the Clyde that is fished out by Joe; a young man working the barges for reasons that are not immediately clear. This brutal beginning in which we see Joe lay a tender hand on the cold dead flesh of the girl begins the film with a level of tension that rarely leaves the screen. Through his actions and - more importantly - his inactions we peel away the outer layers of a man on the run from himself, from responsibility and from guilt. We see him commit two murders by mission of inaction and we see him quietly dealing with that in one last lingering shot that tells us he will never change.

Joe is sexually driven to destroy life around him and he uses sex as a weapon against himself and against the possibility of settling or creating a future. He could be a writer, but he lacks the courage to read his own work. He could be a father, but he cannot face the thought of commitment. He could be a lover, but he makes love to women only as a means to an end, rejecting and pushing them away once the act is completed.

And this is the film in a nutshell. A relentless character study of an unpleasant man who punishes those around him for his own failings. Yes there is gratuitous sex in this film, but it has its place, it defines the moments of change in everyone else's lives while underlining the static character of Joe, played with utter brilliance by Ewen McGregor. The sex is cold, rather than erotic, reflecting the characters contempt for those he uses. Without the detailed sex scenes the film would be less than it is, but audiences expected to be titillated will come away disappointed.

Not without flaws this film has that perplexing title and a scene in which Joe beats his girlfriend after covering her with custard. The scene is alien to both the film and the character of Joe who gives no indication of being violent, rather a man that will walk out on a problem rather than face the awful possibility of confrontation. In fact Ewen McGregor seems embarrassed to play this scene, as though he too cannot link this outburst to the character he is playing.

But this minor quibble apart the film remains an artistically shot work, played with brilliance by everyone. Its rare to see a film where the whole cast are brilliant, where the script is clearly cut and the direction thought through. The visual aspect of the film is also tremendous with each shot being laid out in front of us like a painting, a wondrous work of art that moves and flows to show us the 60's post war Brittan with utter clarity.

Hollywood please take note.