Variety (Jul 3, 2007, by Eddie Cockrell)
[Summary: Involving drama is impeded by well-intentioned earnestness in
the sincere class meditation "Born Equal." Pic about the fates of
various transient residents of a London homeless facility feels too
soft-spoken for aggressive theatrical play, suggesting tube shelters
and a modicum of vid salvation.]
Recently sprung jailbird Robert (Robert Carlyle, low-key) is plot's
entree to an urban bleak house where every sparse apartment houses a
story of yearning and hope. Haunted by the apparently
spur-of-the-moment stabbing that prompted his incarceration, Carlyle
begins a mysteriously aggressive courtship of newly arrived Michelle
(Anne-Marie Duff), battered and pregnant, even as he searches the city
for the mother from whom he's apparently estranged.
Meanwhile, boundlessly rich businessman Mark (Colin Firth, intense)
begins to feel that money isn't everything. After a confrontation with
an angry homeless man results in massive guilt, he begins spending long
evenings away from his pregnant wife Laura (Emilia Fox) to minister to
those less fortunate than himself. This leads him to troubled
17-year-old runaway Zoe (Nichola Burley) and an emotional entanglement
to which there is no satisfactory answer.
Finally, Nigerian maid Itshe (Nikki Amuka-Bird) makes a fateful
decision to fund her imperiled father-in-law's visa to escape
persecution at home, only to lose the respect of her husband Yemi
(David Oyelowo) and the trust of her condescending yet well-meaning
employer.
Robert and Mark finally cross paths in a random, violent encounter.
There's precious little redemption to be had for any of these tortured
souls.
Though dignified and focused, helmer Dominique Savage's well-modulated
screenplay lacks any raw tension or explosive surprises that might
spring from class inequality or the peril of mean streets. This lends
each story a schematic inevitability that leeches the whole of any
lasting resonance. In the end, pic is just too polite.
Carlyle does the best he can with a character whose mysteries are never
fully explained, while Firth's Mark would be a beacon of liberal
initiative were he not so gruff and stuffy. Duff gives the pic's most
satisfying perf as a frightened mother determined to escape abuse.
The Observer (Dec 24, 2006, by Kathryn
Flett) Warning: Contains Spoilers!
Born Equal was very, very serious. It was The Way We Live Now,
Miserablist Division, an unseasonable confection of poverty and
homelessness and domestic violence, gift-wrapped in liberal
middle-class guilt and gilt-edged city bonuses. It starred the gifted
Anne-Marie Duff in a raw and tender performance as Michelle, a heavily
pregnant abused mother of a little girl, Colin Firth as Mark, a wealthy
soon-to-be-father embracing a mid-life crisis, Robert Carlyle as
Robert, a freshly released con searching for his mother, and David
Oyelowo as a Nigerian immigrant struggling to reunite his family. There
was excellent support from Emilia Fox as Mark's pregnant wife, and
Nichola Burley as a homeless teenager who becomes the object of Mark's
ill-advised foray into charity work.
I say ill-advised because, among the many implausible strands of
Dominic Savage's polemical drama, the most implausible of all was
Mark's transition from city boy to outreach worker, under the guidance
of a miscast Julia 'Nighty Night' Davis (it's not that Davis can't act,
it's just that every time she adopted her social worker 'caring' face I
wondered who she was plotting to murder). I'm sure there are hedge fund
managers out there who do fine things for charity (indeed you can
currently watch the rich dispensing their largesse to the needy in
Channel 4's The Secret Millionaire), but I imagine they have neither
time nor inclination to hang around in underpasses prodding piles of
sleeping bags and just have their PAs set up great big standing orders
instead. Nothing wrong with that, either.
Firth has gone on the record to describe his character as 'naive', but
that would be the least of it. And though Carlyle was compelling—the tight
coil of unfocused rage ever ready to spring even as his relationship
with the vulnerable Michelle developed with unaffected realism and charm—when he
did finally snap and wrought the inevitable brutal chaos, Born Equal
tipped over into total melodrama.
Having discovered that his mother had died while he'd been in prison,
Robert decided, somewhat illogically (or at least it seemed that way
because we were denied a context in which to understand how close he
may have been to his mother), that his loss was so great he could not
only no longer love Michelle but must cruelly reject her hard-won trust—when
realistically he would have probably have decided he couldn't afford
not to love her. Though we knew Robert had killed a man, when he killed
Mark it didn't ring true. A more successful—and more
emotionally potent—ending
might have been to leave viewers with the potential threat of Mark's
death, but also the possibility of Robert's redemption.
Much of Born Equal was improvised, but with actors of this calibre, who
are going to convince whether or not every word has been scripted,
improvisation is just another, slightly self-important, route to
establishing a kind of authorial authenticity. In this respect Born
Equal never stood a chance, and certainly never amounted to more than
the sum of its juicy parts, and it didn't make me feel particularly
guilty about not spending quality time hanging with the homeless. Have
a Very Plausible Christmas yourself.
Metrolife
(Dec 18, 2006, by Keith Watson) - 4 out of 5 stars
To have or not to have
As modern city dwellers, we’ve all hardened our hearts to the sight of
the homeless huddled in sleeping bags in shop doorways. Be honest, do
you even clock them as human beings any more? It’s a world of haves and
have-nots, as Born Equal, a drama fueled by pent-up rage at the
randomness of it all, illustrated with a power that was too close for
comfort.
Steering clear of the rub-thumping and stereotypes, writer/director
Dominic Savage created a world of living and breathing reality, rather
than case histories, as the action eddied out from the lost souls
taking refuge in a hostel in the cold heart of London. Whether it was
Anne-Marie Duff, a pregnant mother hiding out from an abusive husband,
or Robert Carlyle as a recently released prisoner struggling to find
respect in the world, these were people you completely believed in.
Representing the ‘there but for the grace of God’ attitude in all of us
was Colin Firth’s filthy rich City chap. Though his belated attack of
social conscience took a bit of swallowing, his words pulled you up
short: ‘I’ve got pretty much everything I need...but I walk past people
who’ve got less than nothing and there’s something wrong with all
that.’ But there were no easy solutions on offer: drawn into a world
way outside his comfort zone, Firth character found himself in too deep
with a teenage runaway, a downward spiral that sent his life careering
out of control.
Which made Born Equal tough viewing on a plasma screen with a glass of
Pinot Grigio in hand.
Sunday Independent (Dec 17, 2006, by Cathy
Pryor)
When I first came to this country in 1999 I used to give money to rough
sleepers all the time. Then I stopped because I got used to them. Now I
don’t even notice them. And that seems to be how it is for most
Londoners.
So it’s almost with a twinge of anxiety that I watched Born Equal, in which the main
character decides that he can’t go on ignoring the plight of the
homeless....[plot clipped]
Born Equal was written
and directed by Dominic Savage, who has made a number of dramas on
social issues including last year’s Love
+ Hate and 2002’s Out of
Control. He apparently asked the actors to improvise some of the
dialogue, and while this led to a lot of stumbling and hesitation,
particularly from Firth, it lends an air of rough authenticity to the
drama that goes well with the theme.
Sunday Mail (three of five stars)
Colin Firth, Robert Carlyle, Anne-Marie Duff, Emilia Fox: the kind of
stellar cast that only the richest or most morally worthy projects can
boast. In this case it’s the latter, a multi-stranded drama
passionately concerned with the contrasts between wealth and poverty in
London. Juxtaposing Firth’s wealthy city trader with the lives of
homeless people, there’s no doubting the sense of grit and approaching
tragedy as the separate stories come together, and this attempt to peel
back the city, à la films Crash
and Dirty Pretty Things, is
hugely ambitious television. It’s a shame, then, that the social
realism is let down by the script and its perfunctorily drawn
characters.
The Independent
by Gerard Gilbert
The BBC’s No Home season has marked the 40th anniversay of Cathy Come
Home with some varied and interesting programmes. It comes to a
head
this Sunday with an all-star Dominic Savage drama, Born Equal. Savage
is a writer-director who enjoys extreme contrasts....His new drama
immediately throws us into the massive inequalities to be
found in London today. We cut from Robert Carlyle’s ex-jailbird
counting pennies in his cheerless hostel room to Colin Firth’s banker
spending nearly £500 on a shot of vintage brandy in order to
celebrate
the annual bonus....
As with Love + Hate, and his
earlier films Out of Control
and Nice
Girl, Savage has taken up the mantle of Ken Loach, but with its
multi-stranded storylines and stellar cast led by Colin Firth, this
film reminded me more of Richard Curtis, and, in particular, Love
Actually. I suppose you could call it Inequality Actually, although the
working title, London, hints
at Savage’s greater ambitions. The irony
is that there is little sense of a wider community in Born Equal, and
although it was clearly shot in London, and looks like London, this
just doesn’t feel like London. And despite some admirable performances
(the best coming not from the big names, but from the newcomer Gemma
Barrett as Colin Firth’s smitten teenage runaway), what should have
been a shattering resolution to this curate’s egg of a drama ends up
feeling somewhat contrived.
Evening Standard (Dec 15, 2006, by Imogen
Ridgway)
Gently, realistically presented yet at the same time extremely
powerful, Dominic Savage’s new drama is about the “hidden homeless”
staying at a hostel in Swiss Cottage. Swiss Cottage, of course, isn’t
exactly a poor part of the capital, and much is made of the contrasts
between the enormous houses and the sometimes tragic situations of the
hostel residents.
Colin Firth stars as Mark, a ludicrously wealthy City boy with a social
conscience, who begins helping homeless people but—perhaps
predictably—finds himself getting emotionally involved with a young
Northern girl, Zöe (Nichola Burley, from Goldplated, if you were
one of the three people who watched it). But that’s not the only plot.
Also living in the B&B are Michelle (Anne-Marie Duff), running away
from her violent partner; Robert (Robert Carlyle), out of prison and
looking for someone; and Yemi (David Oyelowo), a Nigerian asylum-seeker.
It’s not just the fantastic cast and necessarily gritty stories that
draw you in, though. Born Equal was improvised and unrehearsed, and its
naturalistic dialogue is a pleasant shock to the system after the
clanking speech patterns of EastEnders and the like. Firth and Duff in
particular are superb—their gradual comprehension of new situations is
terrifically observed. Carlyle plays, as he often does, a man, and is
mesmerisingly scary.
Stirring stuff.
Radio Times
(by Alison Graham)
I suppose it's commendable that at a time when its potential audience
is groping around in the loft for Christmas decorations or baking
industrial quantities of mince pies, a major broadcaster puts out a
grim treatise on the inequities of British social justice. Born Equal,
from writer Dominic Savage, doesn't herald the week before Christmas
with cosy images or familial warmth. It's a brutally honest tale of
homelessness, disaffection, exploitation and violence, as seen through
the eyes of a string of disparate men and women. Among them are a
young, pregnant, abused mother (played with heartbreaking fragility by
Anne-Marie Duff); the troubled ex-prisoner she befriends in a hostel
(Robert Carlyle, who's so good at restless, barely contained fury); and
a disillusioned City worker (Colin Firth). There's no common thread,
though there's some interlinking of stories. And the performances are
excellent. But Born Equal sometimes feels like a lecture by Savage
aimed at everyone watching in a comfortable home.
Daily Mail – 4 stars
Television that grabs within seconds is a rare beast, indeed—and here
is one of those creatures. While it certainly won’t be winning any
comedy awards, this hard-hitting, London-set drama about social
inequality in today’s Britain is TV with teeth, and award-winning
writer and director Dominic Savage may need to clear more space on his
mantelpiece. It’s quite a cast, too—Colin Firth, Robert Carlyle, Emilia
Fox and Anne-Marie Duff all make themselves known in the first five
minutes, as does the premise...It’s pretty grim—but it’s also
unmissable.
The Guardian by WH
This multistranded drama on London life sails close to replacing actual
characters with a set of socio-economic demographics, but is saved by
some very good performances. Anne-Marie Duff stands out as a heavily
pregnant battered wife who seeks refuge with her daughter in a hostel,
where she meets Robert Carlyle’s well-meaning but violent ex-convict.
Elsewhere, millionaire banker Colin Firth is suffering a guilt-induced
mid-life crisis, and David Oyelowo’s Nigerian journalist is working as
a cleaner to escape a vengeful militia. Ultimately, one is left
wondering if the unrelenting misery serves much of a purpose.
The Times (Dec 16, 2006, by Mary Ann
Sieghart)
Darcy in the underworld
In a city like London, we all lead parallel, and often adjacent, lives.
At the very top—the overclass, if you like—there are the investment
bankers and hedge fund managers who don’t go anywhere near the services
the rest of us depend on. They don’t use the Tube or—heaven forbid—the
buses. They send their children to private schools and use private
healthcare. The only privations they have to share with the rest of
humanity are the traffic jams down the M4 on a Friday evening, as they
head for their country homes; unless they have a helicopter, that is.
Most of us are located close to the middle, holding down middle-class
jobs and living in middling homes—neither the Holland Park mansion nor
the grotty council flat. But well below our relatively comfortable
lives are people who have not even a grotty council flat to their name:
an underclass of folk who are forced by circumstance either to sleep on
the street or in hostels for the homeless. It is the collision of these
two worlds, the top and the bottom, that forms the premise of Born
Equal, a new drama by Dominic Savage, whose gritty TV films—including
When I Was Twelve and Out of Control—have all tackled contemporary
social issues.
The play will be watched for the cast alone. Colin Firth plays Mark,
the hedge-fund manager who, to his credit (and the surprise of his
colleague), opts early in the plot to take the Tube rather than a taxi
to his plush house in Swiss Cottage. Round the corner from his home is
a hostel that houses Robert (Robert Carlyle), newly released from jail,
and the heavily pregnant Michelle (Anne-Marie Duff), who has escaped
from her abusive partner. In the same hostel is a Nigerian family whose
father was forced to flee his country because of death threats. Mark’s
social conscience leads him to become embroiled in the lives of the
hostel-dwellers, with disastrous consequences.
Would he have done better to walk on by? Maybe. Maybe not. One of the
merits of this drama is that the morality is deliberately ambiguous. We
feel as sorry for the rich wife whom Mark neglects as we do for the
17-year-old homeless runaway whom he befriends. And we feel sympathy
and suspicion in equal measure for the ex-con who shares her hostel.
The acting performances are superbly naturalistic. There was no script;
all the cast were expected to improvise and the drama was shot without
rehearsals. This gives a freshness and believability to the dialogue,
and is particularly effective for Firth, whom we are used to seeing in
starchly buttoned-up period roles. Even the children perform well.
And yet . . . there is a heavy-handedness about the plot that makes you
want to go, “Yeah, yeah, yeah.” We all know that some men beat up their
partners, that some asylum-seekers have fled murderous regimes. We all
know that very rich people lead privileged lives. And the postwar urban
planning in London that deliberately planted council estates in even
the smartest of boroughs means that the well-off and the
underprivileged can sometimes live in the same street.
The recent murder in West London of the lawyer Tom ap Rhys Price by two
knife-wielding thugs brought home this clash of cultures and values.
But Savage’s film has no prescription for bridging the gap. Watch it
for the stars and the acting, by all means, but don’t expect any deep
insights or useful answers.
TV Times (5 stars by OG)
Brilliant performances light up this
dark drama...With completely improvised dialogue and superb acting,
it's a mesmerising, if bleak, portrait of inequality in modern Britain.
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