Born Romantic

A delightful British comedy involving three couples attempting to get together, `Born Romantic,' written and directed by David Kane, is a lighthearted, feel-good film set to a heartbeat, as well as a `Salsa' beat. It features a number of engaging performances, and offers a contemplation on life with moments that alternate between funny and poignant; enjoyable fare that leaves the `baggage' of the world behind for awhile to concentrate on the more personal, intimate aspects of what makes the world go ‘round, and a pleasant diversion it is.

A cab driver, Jimmy (Adrian Lester), and a Salsa club are the binding threads of the story, 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 back 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 odd 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 see ‘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 way there is music and dancing, and without a doubt, love is in the air.

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 put a smile on your face and occasionally cause you to take pause and perhaps reflect upon the state of things in your own life, as there are elements in the situations and characters depicted here that are no doubt going to hit close to home for many in the audience. To tell his story, Kane sets a brisk pace and never lets it lag, and his transitions between the storylines are executed perfectly, which gives the film a rhythm and flow 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 good grasp of who each of these individuals are and what makes them tick. And with a steady hand, Kane exacts the kind of performances that really brings it all to life.

As Frankie, the guy who tries so hard to be cool a la Dean Martin, Craig Ferguson hits the mark perfectly. If you were around in the days of the `real' Rat Pack, you no doubt knew this guy; he was the one with the affected smoothness, all the right moves (at least in his own 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 good parts. He manages to leave the boorish elements behind and opens up enough to let you see the `real' Frankie, who in reality is just a guy trying to get on with it and do the best he can. Coming off a bad marriage, he simply wants to find something (someone) good to share his life with. It's a good performance by Ferguson, who is probably best known as Mr. Wick on the `Drew Carey' television show.

Jane Horrocks (the phenomenal talent of `Little Voice') also gives a convincing performance, as does David Morrissey as Fergus. Together they make their situation believable, rather than a depiction of some ersatz fairy tale. The development of their relationship as they attempt to reconcile rings true, which makes the romantic angle all the more real and unaffected.

The most endearing couple of the bunch, however, is Jocelyn and Eddie, who prove that when it comes to romance, the odd and the eccentric will find each other, one way or another. Catherine McCormack is a delight as Jocelyn, a role that is decidedly unglamorous, but a character in which there is a unique charm nevertheless; one which McCormack finds and displays in a sensitive, sympathetic way that shines through from behind an (unattractive) pair of glasses, a neck brace and an introverted, introspective bearing. And it's touching to see 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 way of avoiding any real intimacy or commitment, Eleanor is something of a mystery woman, and Williams has a charismatic screen presence that sells it perfectly. Like Ferguson, she opens up just enough to let you see what lies beneath, and it adds a deeper perspective to her portrayal of Eleanor, and you come 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 own 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 story presented with music and a smile, `Born Romantic' offers a romantic interlude that cuts to the chase and leaves the baggage at the door; in all, it's a fun and satisfying experience. 8/10.

Not all films have to be earth shattering with lots of meanings, Some can just be enjoyable. Born romantic falls into the second category.

The plot is Three Male losers go to a Salsa club in different circumstances. One has the appearance of a rich Latin lover. In truth he is broke and living with his ex wife. The thief is a bad thief, only lucky enough not to get caught. He meets up with an extrentric woman who tends graves. Finally Frankie A musician who is desperate to meet up with his ex fiancée Mo played by the magnificent Jane Horrocks, who he dumped eight years ago.

Nearly all use a mini cab driver, who gives help for all those in the back of his car, as the film progresses it becomes apparent, he is in as much need of help as all the other characters.

If you like the rhythm of the salsa, which becomes infectious, and want something to watch that is not to strenuous on the mind and can stand the occasional cringing moments, then I can recommend this film.

I must confess that I had never heard of this until it appeared in this week's TV schedules.

Yet it is a wonderfully cast, plotted, written and acted film. But above all it is both funny and true-to-life. One of the best I've seen in a long time and makes me wish I'd seen it at the cinema.

"Born Romantic" uses the revolving door approach to studying the relationships of a half dozen quirky characters and their romantic relationships which are in various states of disarray. Full of wry British humor, lots of salsa dancing, and with a cab driver playing a sort of "Dan Cupid" type, "Born Romantic" is considerably more clever than its recent American counterpart "Sidewalks of New York", although they are at different ends of the romantic comedy genre. A fun and funny watch for those who enjoy British films.

From the director of This Year's Love comes another Brit rom com, combining the talents of many of our up and coming English film stars with familiar faces from the small screen.

The film follows a group of people, and how their lives are affected through chance meetings and overlappings of social circles as they come to dance in the same salsa club and go to the same taxi rank to get home. Fergus (David Morrissey) follows his former love (Horrocks) all the way to London to attempt a reconciliation after jilting her years ago, whereas Eddie (Mistry) stumbles into the salsa club one night, and into the life of introvert Jocelyn (McCormack), reluctant to have him intrude, with a similar scenario for Frankie and Eleanor (Ferguson and Williams).

With the disgusted reports of last years figures of box office takings from Brit flicks - among the many disgraced include Janice Beard 45 wpm (starring Rhys Ifans and Pasty Kensit) and House (starring Kelly MacDonald and This Life's Jason Hughes) - only Billy Elliot and Snatch actually made a profit. The British film industry was getting increasingly stronger with international success from hits like 4 Weddings and A Funeral and The Full Monty a few years ago, so why is it we only seem to produce the occasional gem?

Probably because in the case of Born Romantic, yes, you get the occasional laugh; yes, it isn't bad in itself; especially with the calibre of actors in it, but compared to other British films, it certainly isn't doing much special or, at the very least, original. Which is a shame, considering the potential the film shows, particularly within the characterisation. Still worth seeing, but bear in mind that the influence from This Year's Love clearly shines through.