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Domingo, Enero 31st, 2010
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I esteem this film (obviously being able to understand the dialogue helps a lot), to me it’s the quintessential Brit flick - absolutely what we do best - but I don’t judge it a Rom Com at all. It’s very bitter sweet, and if all you’re seeing is the silly stuff on the surface then you’re missing the point of this film. Every character had a dismal thread running through them, a secret injure or guilt or unprejudiced sorrow at unfavorable turnings made. But it’s also about hope, and the message that I score from this film is that no matter what disasters lie in your past, you can always overcome them or redeem yourself.
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Adrian Lester was, as always, improbable at the emotional epi-centre of the film. BTW if you ever pick up the chance to inspect him do Shakespeare on stage then travel heaven and earth to go, he is a sensational actor who absolutely understands how to act ‘the beats inbetween’.
So, my advice is to scrutinize past the tabasco jokes and search for the actual film.
A palatable British comedy interesting three couples attempting to collect together, “Born Romantic,” written and directed by David Kane, is a lighthearted, feel-good film place to a heartbeat, as well as a “Salsa” beat. It features a number of lively performances, and offers a contemplation on life with moments that alternate between silly and poignant; delightful fare that leaves the “baggage” of the world gradual for awhile to concentrate on the more personal, intimate aspects of what makes the world go `round, and a valid diversion it is.
A cab driver, Jimmy (Adrian Lester), and a Salsa club are the binding threads of the anecdote, through which the lives of the individual characters intersect. Mo (Jane Horrocks), jilted at the alter some eight years before by Fergus (David Morrissey), has moved on with her life, finding solace in men and the Latin rhythms of a local Salsa club. What she doesn’t know is that Fergus, regretting that long ago decision, is serve in town looking for her. Meanwhile, a somewhat passive petty thief named Eddie (Jimi Mistry), after a botched mugging ends up at the club, where he falls under the spell of a rather peculiar bird named Jocelyn (Catherine McCormack) . Then there’s Frankie (Craig Ferguson), who happens by the club where he meets Eleanor (Olivia Williams) ; but Frankie fancies himself a latter-day Dean Martin (”Did you survey `Ocean’s Eleven? ‘” he asks her at one point), and Eleanor is simply not having any of it. And it all becomes a series of ups-and-downs, ins-and-outs and highs-and-lows, as these six attempt to connect with (or avoid) one another. Along the intention there is music and dancing, and without a doubt, treasure is in the air.
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There are some subtle insights into human nature to be gleaned from this one, but mostly it’s for fun and entertainment, a film that will effect a smile on your face and occasionally cause you to capture stop and perhaps mediate upon the residence of things in your absorb life, as there are elements in the situations and characters depicted here that are no doubt going to hit end to home for many in the audience. To verbalize his tale, Kane sets a brisk hobble and never lets it lumber, and his transitions between the storylines are executed perfectly, which gives the film a rhythm and inch that takes the viewer along with it. He has a terrific ensemble cast with which to work, and he makes the most of their talents, as evidenced by the succinct development of no less than seven characters, to the extent that you have a pleasant win of who each of these individuals are and what makes them tick. And with a right hand, Kane exacts the kind of performances that really brings it all to life.
As Frankie, the guy who tries so hard to be frigid a la Dean Martin, Craig Ferguson hits the price perfectly. If you were around in the days of the “dependable” Rat Pack, you no doubt knew this guy; he was the one with the affected smoothness, all the true moves (at least in his hold mind) and the appropriate “nomenclature.” He could be fun for awhile, but any impression he made was mostly on himself. Happily, Ferguson captures the essence of that guy, but only the expedient parts. He manages to leave the boorish elements slow and opens up enough to let you examine the “right” Frankie, who in reality is fair a guy trying to net on with it and do the best he can. Coming off a dreadful marriage, he simply wants to fetch something (someone) suitable to part his life with. It’s a genuine performance by Ferguson, who is probably best known as Mr. Wick on the “Drew Carey” television point to.
Jane Horrocks (the phenomenal talent of “Slight Grunt”) also gives a convincing performance, as does David Morrissey as Fergus. Together they develop their residence believable, rather than a depiction of some ersatz fairy epic. The development of their relationship as they attempt to reconcile rings correct, which makes the romantic angle all the more proper and unaffected.
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The most endearing couple of the bunch, however, is Jocelyn and Eddie, who point to that when it comes to romance, the curious and the eccentric will catch each other, one intention or another. Catherine McCormack is a delight as Jocelyn, a role that is decidedly unglamorous, but a character in which there is a fresh charm nevertheless; one which McCormack finds and displays in a sensitive, sympathetic diagram that shines through from leisurely an (unattractive) pair of glasses, a neck brace and an introverted, introspective bearing. And it’s touching to peek Eddie, a misfit of the lowest order– played perfectly by Mistry– drawn to this quirky woman, in whom he is able to discern a beauty that is truly more than skin deep.
The most striking of all, however, is Eleanor, as played by Olivia Williams. Adopting a rather hardened exterior as a design of avoiding any right intimacy or commitment, Eleanor is something of a mystery woman, and Williams has a charismatic conceal presence that sells it perfectly. Like Ferguson, she opens up objective enough to let you peek what lies beneath, and it adds a deeper perspective to her portrayal of Eleanor, and you arrive to understand why Frankie is drawn to her.
Finally, Adrian Lester is effective as Jimmy, the cab driver who bears the weight of a dramatic event in his acquire life, which is his secret alone. Jimmy is a pivotal character in the play, and Lester’s portrayal lends some of the more poignant moments to the film.
Rounding out the cast are Ian Hart (Second Cab Driver), John Thomas (First Cab), Kenneth Cranham (Barney) and Louise Delamere (Maria) . An upbeat sage presented with music and a smile, “Born Romantic” offers a romantic interlude that cuts to the stir and leaves the baggage at the door; in all, it’s a fun and satisfying experience.
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