IMDb > About Adam (2000)
About Adam
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About Adam (2000) More at IMDbPro »

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About Adam -- He's the most outrageous secret three sisters ever kept . . . from each other.
About Adam -- Trailer


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Release Date:
19 January 2001 (Ireland) See more »
He came. He saw. He conquered. One sister at a time.
A waitress falls for a handsome customer who seduces her, her two sisters, her brother, and her brother's girlfriend. Full summary » | Add synopsis »
3 nominations See more »
User Reviews:
The truth about Adam... See more (55 total) »


  (in credits order)
Tommy Tiernan ... Simon

Kate Hudson ... Lucy Owens

Frances O'Connor ... Laura Owens
Stewart Roche ... Customer #1
Aoife Maloney ... Customer #2
Donal Beecher ... Andy

Stuart Townsend ... Adam
Rosaleen Linehan ... Peggy Owens
Charlotte Bradley ... Alice Owens Rooney

Alan Maher ... David Owens
Brendan Dempsey ... Martin Rooney
Cathleen Bradley ... Karen
Kathy Downes ... Dympna
Mark Smith ... Dracula
Roger Gregg ... Prof. Harry McCormick
rest of cast listed alphabetically:
Ciara Dredge ... Flower Girl
Paul Cotrulia ... Lucy's ex boyfriend (uncredited)

Shay Dunphy ... Voice actor (uncredited)

Directed by
Gerard Stembridge 
Writing credits
(in alphabetical order)
Gerard Stembridge 

Produced by
Mary Alleguen .... line producer
David Aukin .... executive producer
Anna J. Devlin .... producer
Marina Hughes .... producer
Trea Leventhal .... executive producer
Rod Stoneman .... executive producer
David M. Thompson .... executive producer
Harvey Weinstein .... executive producer
Original Music by
Adrian Johnston 
Cinematography by
Bruno de Keyzer 
Film Editing by
Mary Finlay 
Casting by
John Hubbard 
Ros Hubbard 
Laura Rosenthal 
Production Design by
Fiona Daly 
Art Direction by
Susie Cullen 
Costume Design by
Eimer Ni Mhaoldomhnaigh 
Makeup Department
Orla Carrol .... hair stylist
Fiona Connon .... key makeup artist
Barbara Conway .... assistant makeup artist
Lorraine Glynn .... assistant hair stylist
Sam Joseph .... makeup artist
Marion O'Toole .... hair stylist
Maureen Smith .... hair stylist
Production Management
Joanie Blaikie .... executive in charge of production
Mary Casey .... post-production supervisor
Maggie Mooney .... production manager
Geoffrey Paget .... executive in charge of production
Second Unit Director or Assistant Director
Donnacha Brady .... trainee assistant director
Mary Gough .... assistant director
Luke Johnston .... assistant director
Alex Jones .... trainee assistant director
Marcus Lynch .... assistant director
Art Department
Max Aifa .... props
Russ Bailey .... construction manager
Tony Boston .... props
Christina Brosnan .... property master
Deirdre Byrne .... props
Bronwyn Clohissey-Boyd .... painter
John Connon .... carpenter daily
Colman Corish .... assistant art director
Manus Daly .... supervising carpenter
Joe Gaynor .... stand-by painter
Tony Kelly .... stagehand
Gerard Lanigan .... dressing props
David Marsh .... trainee dressing props
James McGetrick .... prop storeman
Owen Murnane .... master painter
Larry O'Toole .... stand-by carpenter
Sheelagh Power .... property buyer
Olivia Quigley .... trainee props
Joe Swaine .... carpenter
Brian Thompson .... construction runaround
Jil Turner .... assistant property buyer
Edmund Walsh .... trainee art director
Noel Walsh .... stand-by props
Sound Department
Jose R. Castellon .... adr recordist
Alan Collins .... sound facility engineer: ardmore sound
Michelle Cunniffe .... adr recordist
Patrick Drummond .... supervising sound editor
Susan Fairbairn .... assistant sound editor
Susan Fairbairn .... foley assistant
John Fitzgerald .... adr mixer
John Fitzgerald .... sound re-recording mixer
Sarah Gaines .... machine room operator
Dave Harris .... sound trainee
Goro Koyama .... foley artist
Anthony Litton .... sound effects editor
Andy Malcolm .... foley artist
Ron Malligers .... foley mixer (as Ron Mallegers)
Marino Marolini .... assistant sound editor
Noel Quinn .... boom operator
Leslie Shatz .... sound re-recording mixer
Jon Stevenson .... adr editor
Annette Stone .... foley editor
Andrew Tay .... foley mixer
Karl Travers .... sound trainee
Richard Welsh .... dolby sound consultant
Simon J. Willis .... sound
Rebecca Wright .... foley assistant
Sharon Zupancic .... foley artist
Dan Edelstein .... supervising sound editor: US release (uncredited)
Special Effects by
Maurice Foley .... special effects supervisor
Marty Kelly .... special effects technician
Brendan Walsh .... special effects
Laura Fox .... stunts
Eamon A. Kelly .... stunt coordinator
Donal O'Farrell .... stunt safety
Donal O'Farrell .... water safety
Camera and Electrical Department
John Conroy .... assistant camera
John Conroy .... focus puller
Seamus Corcoran .... camera operator
Tony Devlin .... gaffer
Richie Egan .... crane grip
Martin Holland .... best boy electric
Roger Kenney .... camera trainee (as Roger Kenny)
Michael McGrath .... still photographer
Philip McKeon .... clapper loader
Peter O'Toole .... generator operator
Patrick Redmond .... still photographer
David Rist .... grip
Fionn Seavers .... video assist operator (uncredited)
Casting Department
Mary Maguire .... casting assistant
Costume and Wardrobe Department
Emma Charleton .... wardrobe trainee
Judith Devlin .... wardrobe assistant
Ger Scully .... wardrobe supervisor
Judith Williams .... costume assistant
Editorial Department
Alan Duffy .... second second assistant editor
Declan McGrath .... first assistant editor
Anna Maria O'Flanagan .... second assistant editor
Music Department
Niall Acott .... music recording engineer
Terry Davies .... conductor
Isobel Griffiths .... music contractor
Colin Rae .... music preparation
Jon Stevenson .... music editor
Transportation Department
John Kavanagh .... transportation captain
Other crew
Kate Bowe .... unit publicist
Yvonne Burke .... assistant production coordinator
Fionnuala Dorney .... accounting assistant
Jerome Franc .... utility stand-in
Gerry Grennell .... dialogue coach
Kieran Hennessy .... location manager
Richard Matthews .... production trainee
Suzanne McAuley .... assistant accountant
Jeanette McGrath .... trainee script supervisor
Rob Quigley .... production accountant
Pat Rambaut .... script supervisor
Rachel Smith .... production coordinator

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Additional Details

Also Known As:
Rated R for language and sexuality
97 min | USA:105 min (Sundance Film Festival)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

[Lucy is talking into a microphone onstage at the restaurant]
Lucy Owens:My family's here tonight sitting at that table over there. Were celebrating my mum's birthday today. We all love you, Peggy Owens! And, there's a man down there in my crowd called Adam and he's my fella. And I know my mum's mad about him. So I thought the best present I could give my mum would be to say that him and I are going to get married.
[Crowd starts cheering loudly]
Lucy Owens:Oh, wait! No, no, no! No, no! Wait, wait, wait! You see, I haven't asked him yet. So, Adam, I'm asking you now. Will you marry me?
See more »
Movie Connections:
References Laura (1944)See more »


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21 out of 28 people found the following review useful.
The truth about Adam..., 12 February 2001
Author: Alice Liddel ( from dublin, ireland

'About Adam' is a male counterpart to Gerry Stembridge's classic TV drama, 'the Truth about Clare', his innovative film about Ireland and abortion. In that film, three characters tried to grope, through memories, prejudices, egotism, blindness etc., the truth about the title character, a pregnant woman who died following an abortion in England (it is still illegal in Ireland); here, four characters try to capture the essence of the elusive Adam, a jack of all relationships but mastered by none.

A knowledge of Stembridge's previous, more sober film gives this breezy comedy a darker edge - its tale of a family being given everything they sexually desire is an appropriate metaphor for a society like Ireland currently going through an unheard-of economic boom, creating a culture of extreme self-interest. The dangers of this self-interest are plain to see - a few weeks ago another Stembridge TV satire was aired about Ireland's racist treatment of refugees.

We have never had this much prosperity before, and we don't want anyone else sharing it. Similarly, the last person this film is 'about' is Adam. Like 'Clare', the film is structured around the personal narratives of each character involved with Adam - Lucy (Kate Hudson, and, I'm afraid, the hype for once is spot-on - she IS adorable), the spontaneous, singing waitress with a new boyfriend every week, who finally settles down to a 'great passion'; Laura (Frances O'Conner - can there be any doubt now that she is our finest actress?), the pretentious, uptight English post-grad doing a thesis on repressed Victorian women writers who is 'loosened up' by Adam, her assumptions revealed to be a lie; David, the brother, dating a prim virgin, enlisting Adam's help and finding himself sexually attracted to him; Alice, the elder sister, trapped in a prosperous marriage to a pompous dullard, intrigued by Adam, but unwilling to lose control like her siblings that easy.

Each narrative is tailored to each witness' personality (like 'Dracula', an ironic allusion throughout), in the way each story is shaped; in the stylistic devices employed; in tone; but, most importantly, in the perception of Adam. 'Clare', for all its excellence, played to that age-old myth, the mystery, inscrutability, unattainability, unknowability of woman. 'Adam', the first man, remorselessly documented throughout thousands of years of masculine culture, is suddenly the mystery, the woman, the sphinx, the passive black hole.

Adam (which may not even be his name) is the blank onto which the various characters project their fantasies - he is literally what they want him to be. Naturally, plot points overlap within the four stories, and our interpretation of them changes with greater knowledge, but, paradoxically, our knowledge of Adam diminishes, helped by the lies and stories he spins about himself. Who is Adam? Besides the obvious pleasure of bedding three beautiful women, why does he do it? In fact, forget that 'besides', that's probably your answer.

As well as alluding to his own work, Stembridge cleverly remodels two other classics of sexual amorphousness. Like Terence Stamp in Pasolini's 'Theorem', Adam is a stranger who enters a bourgeois household where everyone has a stereotypical role they adhere to, and which Adam smashes, forcing them to review their lives and the assumptions they live by. This has a liberating effect, but also a joyful one - this is a remarkably angst-free film. With his blank good looks, his white suit, and bleached blonde crop, Stuart Townsend (hi Celia!) is a ringer for the young Stamp.

The other allusion is to 'Alfie', that freewheelingly amoral sexual cad, lying his way through a score of beautiful women. Except Adam is the anti-Alfie, he does not humiliate or diminish women, they're the ones who develop; and he lacks the controlling power of narration; but he does limit them, reducing them to 'mere' sexual urge.

Significantly, both these films were key artefacts of the 1960s, and there is an optimism, a freshness, a vigour, a lightness to 'About Adam' that resembles the swinging 60s, as if Ireland, belatedly, has entered its own hedonistic decade. Both films, equally significantly, were warnings or analyses of that decade's fatal complacency, and in the exhilerating shots of Dublin that dot the film we cannot fail to notice the looming cranes, the building activity that suggests this story isn't quite finished, this culture hasn't quite reached maturity.

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