Published Dec 04, 2008Aside from some forced setups, occasionally hokey dialogue and a bland aesthetic, Adam's Wall tells a story of cultural division, globalized grudges and generational discord with insight and sincerity, which will unfortunately be the film's downfall, as sincerity is perceived as weakness in Western society.
While some will appreciate this refreshingly un-hip approach, most will do what they have been socialized to and dismiss it as lame or corny, since honesty and human connection without overt performance, wilful stoicism and contrived persona are considered woeful faux pas.
This story of star-crossed lovers fashions itself much like a modern Romeo & Juliet, with a background of religious intolerance care of Orthodox Rabbis and Lebanese Christians. On the Jewish side is Adam (Jesse Aaron Dwyer), a mousy, insecure orphan whose painful roots so frequently find themselves fraying on his veneer, who finds instant attraction with the wilful and vibrant Yasmine (Flavia Bachera), whose Lebanese background proves problematic to Adam's grandfather (Gabriel Gascon).
Exacerbating this issue is the fact that Yasmine's father (Paul Ahmarani) advertises bronzed nudes in the window display of his art gallery, in a place where Jewish schoolchildren can see, which bugs the hell out of Adam's grandpa. In addition, some rumblings of daddy issues occasionally slip to the surface, as Yasmine's unorthodox affections only become active after she finds her father diddling Christine (Maxim Roy), despite his being married.
While the foundations of the core relationship are occasionally uncomfortable to watch, not shying away from the less glamorous aspects of the courting ritual, it is entirely believable, which makes the impact of their connection that much more affecting.
If nothing else, Adam's Wall acts as a necessary reminder that while society has progressed in a manner that accepts additional definitions of love, understanding and diversity, we still have quite a way to go. (Equinox)