It comes as no surprise that the ladies’ 18-year-old sons do everything together. They’ve known each other their entire lives, so they talk to each other about everything, and enjoy hanging out together. The two mothers and their sons enjoy a life of leisure and professional pursuits in their lovely beachfront community, the need for others apparently not necessary. This arrangement is tested when Harold is offered a job in Sydney. He wants to take his family with him, seeing it as an opportunity for all of them, but his wife and son refuse to go.
Relationships have irrevocably changed, and Harold is left out in the cold. Ian has professed his love for Roz, and the two are engaged in a steamy affair. Upon discovering the relationship, Tom retaliates by seducing Ian’s mother, Lil. Initially, the two women are horrified at the situation, but they quickly rationalize it; deciding that the young boys will quickly tire of them. As time goes on, complications arise in an already unique arrangement. Their relationships are tested by outside forces, and the women begin to question their age.
Though Christopher Hampton has proven himself to be a fine screenwriter, but in this case, Adore maintains its literary origins and feel, lacking the kind of dramatic heft you would expect from the film version. The relationships play out in a very by-the-numbers fashion, as two friends who see little harm in the son-swap relationships, and their actions. The mothers are eventually forced to face the consequences of their actions in ways you might expect, but getting there is surprisingly uneventful.
Director Anne Fontaine does a fine job moving the story along, showing how the idyllic, quiet beach setting plays a big part in the seductive process. The film is well made, aided by solid performances from the four leads, who give the material an emotional resonance that makes things interesting. The film is also helped along by some beautiful scenery that is simply breathtaking. The fact that Adore doesn’t resort to the all too common practice of ending in utter tragedy is a welcome development.
Presented in the 2.39:1 aspect ratio, Paramount’s 1080p transfer looks spectacular. Close-ups look amazingly clear, and the panoramic vistas are breathtaking. Colors are vibrant and natural throughout. Contrast is spot-on, and digital anomalies are nowhere to be found.
The DTS-HD Master Audio 5.1 track is as stunning as the video. The ocean, and other sounds of nature are crisp throughout, adding a real sense of involvement to the viewing experience. The dynamic range is impressive and nuanced, allowing for rich sound throughout. Christopher Gordon’s score sounds simply stunning, and dialogue is always clear.
English, English SDH, and Spanish subtitles are available.
There are no extras.
