Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Maryam Touzani
Writer: Maryam Touzani in association with Nabil Ayouch
Cast: Lubna Azabal, Nisrin Erradi, Douae Belkhaouda, Aziz Hattab, Hasnaa Tamtaoui
Screened at: Critics’ link, NYC, 2/11/21
Opens: March 5, 2021
You don’t want to know what happens in some Muslim societies to women without husbands who become pregnant. Happily for the characters in “Adam,” Morocco is not what of the ultra-conservative countries but is in fact wide open to Western film-makers who want to take advantage of its fascinating cities (Fez, Marrakesh, and Meknes particularly) and desert landscapes. “Adam”, is a Moroccan-made film by a Tangier-born director, Mayam Touzani, who is known for co-writing “Razzia,” five stories that come together in Casablanca. “Adam” is her first feature film, though you would think it’s a work by a director with an extensive résumé. It’s a woman’s story whose only men other then as customers of a woman’s snack food is a suitor, Slimani (Aziz Hattab) and the title character (uncredited) in his debut performance. (Adam shows his acting chops, able to cry on cue and dissolve into pure pleasure in the presence of a woman.)
Lubna Azabal in the role of Abla and Nisrin Erradi performing as Samia have about equal time in front of Adil Ayoub and Virginie Surdej’s lenses. Both are living in Casablanca in a section that’s considered poor but which American visitors would label quaint, with its narrow sidewalks and a plethora of vendors. Abla, a single mother with an eight-year-old daughter Warda (Douae Belkhaouida), sells pancake-like snack foods like rziza and msemmen right from her modest home but so far appears to have only a moderate clientele. That will change when Simia, in her eighth month of pregnancy and homeless, asks for work, any kind, and receive a tentative welcome from the dour Abla. Taking homeless people into your residence is not a popular pastime in the U.S. but Abla, feeling sorry for Samia who is sleeping outside, takes her in for one night. The invitation is extended when the adorable Warda takes an immediate liking to the new guest and when Samia proves to be an excellent chef, turning out better rziza and msemmen because when she kneads the dough, she feels it.
Not much happens during the first hour or so. Abla loses patience with Samia, kicks her out, then races through the Casablanca streets to find her and coax her back. In the film’s most poignant scene, Abla, who continues to grieve for her dead husband, is forced by Samia to listen to Abla’s favorite music on the radio, one that might be considered in the American culture to be a couple’s wedding song. Approaching that point, Samia takes charge of her hostess and boss, forcing her to listen carefully, to close her eyes and sway, and loosen up on her wicked witch act. For comic relief, now and then Abla’s suitor Slimani (Aziz Hattab) has marriage on his mind, asking Samia to tell her boss that his father had always had hair and that Slimani’s receding hairline constitutes the most locks that he will ever lose.
Maybe in the U.S. and Sweden, where one born out of wedlock is called a love child, at least by progressives. In Morocco, such a baby is dirt, although as Samia advises us, the baby himself is wholly without sin. Because of this, Samia seems determined to give Adam up to a good family despite Abla’s suggestion that she keep the infant. The women—Abla, Samia, and the precocious Warda, are fleshed-out human beings who have emotional ups and downs and happily, their relationship has changed them for the better. As the uneducated country girl with an eight-month unborn child, Nisrin Erradi stands out, a woman who has had to go from house to house asking for work and ending up with an inadequate resolution to her dilemma but able to turn her uptight hostess into a more caring person.
You may not want to live in Casablanca’s old Medina, but for Abla, the neighborhood provides work without a commute and for little Warda the chance to make something of herself by taking her studies seriously under her mother’s watch. A charming, low-key adventure well worth your custom.
98 minutes. © 2021 by Harvey Karten, Member, New York Film Critics Online
Story – B+
Acting – A-
Technical – B+
Overall – B+