Written by Michael J. Long and Tom Sidney, and directed by Long, Baby Brother is a classic example of British realism. Set in Liverpool, the film explores themes of violence, crime, addiction and the affects this has on family. This whirlwind revolves around two brothers, Adam (Paddy Rowan) and Liam (Brian Comer), who is four years younger.
The narrative entwines two different timelines, five years apart. The striking thing about this is that there isn’t much difference between the two periods of the brothers’ lives. As we come to discover, their experiences are just part of a cycle of similar experiences; a self-perpetuating violence that seems to snake through generations.
As boys of 15 and 19, Adam and Liam’s relationship seems normal, albeit a little rough and tumble. They play-fight a lot, but there is also a good deal of love and respect there. Adam is doing his best to protect Liam from some of the dangers of the world, even when these dangers lurk in the place they call home. With an alcoholic mother and a violent step-father, the household is far from a stable and nurturing environment. This, of course, dramatically affects the boys as they have grown up.
Amongst the greyness of their home life, there are a few specs of humanity that shine above the brothers’ desperate attempts to attain or maintain the alpha male status that they believe will protect them from the ills of the world. A homeless man on the bus, ignoring Liam’s unkindness, speaks of the beauty and power of family. His message is poignant and the interaction is incredibly touching. Later, Adam sneaks Liam into the theatre while he believes it’s closed only to find a woman rehearsing a soliloquy from Macbeth. They laugh at the word “breast”. This is the kind of laddish deviance that can be expected (and forgiven) from two brothers of this age.
But cutting five years in the future tells a much more serious story. The truancy from school and play-fighting is replaced by drugs and real violence. It’s no longer a case of boys being boys, but boys who have grown up into dangerous men. This is especially true for Adam, who enters the narrative after escaping prison where he was serving a life sentence. The film asks us to think about whether we choose violence, or whether we’re goaded into it by circumstance. Is it our choice, or are we a victim of our experiences leading up to that defining moment? It is true that both Adam and Liam were raised in violence and aggression, but they sink into this rather than fighting to escape and consequently perpetuate the cycle.
Baby Brother contains several twists and turns, many of which play on the terrible consequences of the brothers’ actions. For example, their childhood friend, Rafa (AJ Jones), is brain damaged because of Liam and a stupid dare. The two brothers’ seem to blast through life in a whirlwind of anger, never taking a step back to question themselves. At least not until it’s far too late.
The film plays on the idea of existence and becoming – the many versions of ourselves that we could have become. While circumstance is a huge factor in this, there is also a certain degree of choice we have in the matter. This is what is important in breaking cycles. Adam mourns the fact he was not able to escape the violence that shaped him as a young person. Throughout the film, it seems clear that Liam is also fast tracking along this trajectory. At 20, his aggression is fuelled by drugs and the way he treats his girlfriend, Charlotte (Kathryn McGurk), is already problematic. She is pregnant with his child – the cycle again threatens to continue into the next generation. The film ends very ambiguously, but we hope that something changes for Liam, even if it’s far too late for Adam.
Although the film does contain a lot of violence, it manages to maintain a good level of storytelling throughout rather than defaulting to shock value. The fight scenes are well choreographed which is impressive for a micro-budget feature film. A particular highlight of the fabric of the film is the cinematography. I found the scene where Rafa as a child is cycling along the street very emotional. He cycles towards the camera in one continuous shot, accompanied by beautiful piano music from Bobby Locke. Paddy Rowan and Brian Comer as Adam and Liam capture anger with versatility and nuance. They both succeed in making the moments between their aggressive behaviour poignantly effective. This light and shade is important in a film of this nature. Julia Ross and Billy Moore as Joanne and Robbie also do a good job of capturing what shaped Adam and Liam. Perhaps Charlotte and Liam manage to raise their baby differently and move away from anger and into healing.
Watch the trailer below!