Described by many as either a down-beat comedy or a slap-stick tragedy, Adam and Paul (2004) – written by Mark O’Halloran who also stars as Paul – is a film that should not be taken at face value. It follows a day in the life of two heroin junkies from Dublin embarking on a quest to find their next fix. However, their pursuit is complicated by an assortment of bad luck. Their desperation and lack of money, exacerbated by their gradual withdrawal symptoms, lead this duo to encounter a succession of strange and wonderful characters as they try to scrape enough money together to stave off the sickness for one more day. A stylish and subtle take on the classic little-and-large double-act, Adam and Paul is a seemingly simple story with profound and complex undertones.
Nothing in this film is as minimal as it appears. As the adventure of Adam and Paul unfolds, moving parallel stories of side-line characters are revealed. These branching narratives colour in the background of the two apparent simpletons and expose a more heart-wrenching reality. A bleak depiction of life, speckled with humorous scenes and dialogue, the tone of this film mimics that of fellow Irishman and play write Samuel Beckett. And just like Beckett, the film’s message is certainly not straightforward. Ultimately, Adam and Paul is a clever minimalist re-work of a traditional fairy tale; two little boys, naive and vulnerable, caught under a spell they cannot shake off and lost in a world of eccentric characters from which it seems there is no way out.
Yet despite the apparent grimness of life for all the characters, Adam and Paul is not without hope. In some ways the film is a celebration of mankind’s endurance. Heedless of all the tragedies surrounding the characters, each of them – without exception – refuses to give up. Some may call such hope pathetic in its own patient fruitlessness, but this optimism – futile or not– is not just touching, but admirable. Whether it is Adam and Paul’s refusal to yield to fate’s blows or Matthew’s grieving mother singing at his wake, mankind’s refusal to be consumed by life’s overwhelming misfortunes in this film is truly touching.
Stylishly shot and extremely subtle, Adam and Paul is not a light watch. Although it is impossible not to feel some empathy with the character’s situations, the film does not make it easy to like them. Some may find themselves unsympathetic towards Adam and Paul who commit atrocious acts in order to feed their habit. But even these few will find their criteria for judging people questioned to some extent by this film. For others the film’s deliberate downbeat style may feel plodding and tedious, marring the more buoyant and energetic scenes. This is especially true with regards to the dialogue which is thick with the colloquial Dublin accent and can be hard to follow at times.
Yet the film’s complexity, gritty realism and minimalist style prove to be its saving graces, without which it would just be another bleak drama about drug addiction. In fact it is the film’s quirkiness, depth and humanity that means it surpasses all other films of its genre. Adam and Paul is not simply a film about drugs, but a film about humanity. Superbly directed and at times extremely funny, this film has the ability to charm, move and question. Whether a fan of the film or not, it is impossible to come away from Adam and Paul unaffected.
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