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PARK CITY 2000 REVIEW: An Irish Sex Farce in “About Adam”

PARK CITY 2000 REVIEW: An Irish Sex Farce in "About Adam"

PARK CITY 2000 REVIEW: An Irish Sex Farce in "About Adam"

by Erika Milvy

(indieWIRE/1.29.2000) —

A French farce in which sex for sex’s sake does a body good, in which men and women, even sisters, don’t necessarily mind sharing the pleasures of a hunky studmuffin, may well be saucy fun. But one doesn’t really think of sexual generosity and libertinism when it comes to merry old Ireland. “About Adam,” though it’s good-natured, likeable and better than your average mainstream diversion, has a bit of an identity problem.

(l-r) Frances O’Connor and Kate Hudson in
Gerard Stembridge’sAbout Adam‘.

Credit: Pat Redmond

Distributed by Miramax and starring the fresh scrubbed American face of Kate Hudson, the film, directed by Irish director Gerard Stembridge and set in Dublin, has the look and feel of Hollywood, USA. Light and fizzy, the film never rises to the cynical edginess required of its locale.

With her fetching smile (a direct decedent from mom Goldie Hawn) Kate Hudson plays Lucy, a sweet waitress and singer who has found love with the too good to be true Adam. Shy and handsome and behind the wheel of a zippy vintage jaguar, Adam (the magnetic Stuart Townsend) is quickly taken into the fold of Lucy’s gynocentric family. Mother Peggy (a zesty Rosaleen Linehan) thinks he’s the bees knees and the rest of the family — the bookish academic sister Laura, the unhappily married sister Alice and the brother David, eager for male companionship — are soon all seduced by Adam’s effortless charm.

(l-r) Director Gerard Stembridge and Stuart
have a laugh on the set of ‘About Adam‘.

Credit: Pat Redmond

Hudson, who doesn’t quite make for a credible Irishwoman, is the film’s least compelling character. Her Lucy has a bouncy, effervescent personality, but not a lot more. She sings several numbers at the restaurant where she works, and while her voice is adequate (her Irish accent less so) the mediocre Cole Porter numbers merely lengthen the film. Lucy’s showmanship does get her up on stage for a hokey public proposal to her beau. But without the assistance of that sexy French language, it’s somewhat hard to root for this couple, which will likely enter marriage with a foundation of lies. The film never judges Adam, who says he sees himself as doer of good — a sexual Santa Claus perhaps.

While Hudson’s Lucy is an American ing

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