Centered around a salsa club, three men pursue three women across London. Fergus is trying to find his ex-girlfriend, the elderly charmer Frankie the beautiful Eleanor and the robber Eddie is trying to find one of his victims, cemetery worker Jocelyn.
The hypnotic beat of salsa provides the backdrop to this urban drama about three lonely Londoners contemplating life's greatest mystery - women.There's Fergus (David Morrissey), searching for the high-school sweetheart he jilted years ago (Jane Horrocks). There's Eddie (Jimi Mistry), the pick-pocket who falls for Jocelyn (Catherine McCormack), the grave tender. And there's Frankie (Craig Ferguson), who is determined to find the love of his life while still living with his ex-wife. Jimmy (Adrian Lester) the streetwise cabbie guides them all on their tumultuous search for love.
Otto Klemperer was born on 14th May 1885 in Breslau, Silesia (now Wroclaw, Poland) and died on 6th July 1973 in Zurich and hence next year we mark 40 years since his passing. Although disfigured by a stroke suffered whilst a brain tumour was being removed he became a world-renowned conductor whose recordings became and remain touchstones for the EMI catalogue.
Though John Barry achieved popular recognition for the swinging, loungey, noir-ish soundtracks he composed for the James Bond films, he moved to the front rank of film composers with his score for 1966's BORN FREE. Stylistically, the music of BORN FREE is miles removed from Barry's Bond soundtracks, though the composer's fondness for brass fanfares, stirring strings, and lush, intricate charts with stunning dynamic range is still intact. On the whole, however, the music to BORN FREE has a playful, innocent quality, evoking the nature of the wild animals at the film's center. As the movie is set in Africa, Barry employs a range of African percussion instruments, and sections of flute music (which often seem to echo the sounds of birds or other creatures). The arrangements are expansive and sweeping, giving rise to the sensation of open plains, and Barry's recurring musical themes parallel the film's action (the track titles indicate plot events). The score is, for the most part, surprisingly subdued, with occasional bursts of energy (mirroring tumultuous events onscreen) and its stirring title theme the exceptions. Barry won an Academy Award for the score in 1966.