Abu, Boy of Adam (Adaminte makan Abu)

An Allen's Media presentation. Created by Salim Ahamed, Ashraf Bedi. Directed, compiled by Salim Ahamed.With: Salim Kumar, Zarina Wahab, Mukesh, Kalabha van Mani, Suraj Venjaranmood, Thambi Antoni, Sasi Kalinga, Nedumudi Venu. (Malayalam dialogue)The method to Mecca is really a lengthy and worthy one out of "Abu, Boy of Adam," an unfailingly sincere if significantly underpowered debut feature from author-director Salim Ahamed that balances measured analysis from the Islamic belief with larger concerns of mortality and community. Planning the mission of the seniors couple in rural Malabar to become listed on the annual Hajj pilgrimage, the easy narrative comes with an O. Henry-style moral architecture but wants for human detail. Selected as India's foreign-language Oscar submission after signing up strongly in your own home within the summer time, the lushly lensed pic should find supportive audiences around the niche festival circuit. Less an extensive study of religious devotion (or indeed crisis) than the usual universal tale of charitable organisation refused and dreams deferred, "Abu, Boy of Adam" was apparently inspired by Ahamed's own previous experience like a tour operator: The strain between the fee for the Mecca trip and also the feeling of spiritual obligation to really make it is most probably no unusual dilemma for a lot of Muslim folk. Opening with possibly one a lot of picture-postcard shots from the verdant Kerala Condition landscape, the pic quickly determines the narrow social radius from the title character (the arrestingly blue-eyed Salim Kumar), a septuagenarian perfume-seller quite happy with his modest earnings and quiet marriage to wife Aisu (Zarina Wahab), but estranged from his unseen adult boy. No explanation emerges, but odds are his unflagging piety might have something related to it. With little to depart when it comes to a legacy, Abu's lone remaining ambition would be to attend the Hajj, with Aisu with you, before he dies. The financial and bureaucratic obstacles involved, however, are manifold: Passport programs are interrupted by spying police authorities, while offers of financial the help of assorted buddies and acquaintances (including his kindly tour operator) are frequently switched lower by Abu themself. The wealthiest irony in Ahamed's script is the fact that it's strict religious behavior training, instead of mere personal pride, that inspires his refusal. Ahamed informs his story with clearness and empathy, but little humor or grit: The film includes a inclination to be put off by overt dramatic conflict, as Abu's gentle decency sees him escape or mollify one practical or personal opponent to another. As a result, he's a far more admirable protagonist than he's a compelling one, and Kumar, most widely known in your area for comic roles, is really a committed but slightly over-deliberate presence within the lead. Chief pleasures of the humble production lie within the confident lensing of veteran Indian d.p. Madhu Ambat, who's given unchecked permission to wallow within the Malabar countryside's iridescent sunrises and acidity-eco-friendly blankets of foliage it's left more towards the literal storytelling rather than the plush filmmaking to help remind us of Abu and Aisu's struggles.Camera (color), Madhu Ambat editor, Vijai Sankar music, Isaac Thomas Kottukapally production designer, Jotish Shankar costume designer, Razak Thiroor seem (Dolby Digital), Alith A. George. Examined at London Film Festival (World Cinema), March. 23, 2011. Running time: 99 MIN. Contact the range newsroom at news@variety.com