Rosie and Vincent know each other for ten years, and are married for five. She doesn't like her job, he isn't too pleased working with her dad. They're trying to have a baby. One morning ... See full summary »
Steve Coogan has been asked by The Observer to tour the country's finest restaurants, but after his girlfriend backs out on him he must take his best friend and source of eternal aggravation, Rob Brydon.
There's little wonder in the working-class lives of Bill, Eileen, and their three grown daughters. They're lonely Londoners. Nadia, a cafe waitress, places personal ads, looking for love; ... See full summary »
In February 2002 in the Shamshatoo Refugee Camp in the North West Frontier Province in Pakistan, there are 53,000 refugees living in sub-human conditions since 1979 with the Soviet Union ... See full summary »
Donal is a 14-year old who develops a passion for greyhound racing. He works in a kennel, which is owned by Good Joe. Good Joe promises Donal ownership of Donal's favorite greyhound, The ... See full summary »
Eunice is walking along the highways of northern England from one filling station to another. She is searching for Judith, the woman, she says to be in love with. It's bad luck for the ... See full summary »
Two actors, as their make up is applied, talk about the size of their parts. Then into the film: Laurence Sterne's unfilmable novel, Tristram Shandy, a fictive autobiography wherein the narrator, interrupted constantly, takes the entire story to be born. The film tracks between "Shandy" and behind the scenes. Size matters: parts, egos, shoes, noses. The lead's girlfriend, with their infant son, is up from London for the night, wanting sex; interruptions are constant. Scenes are shot, re-shot, and discarded. The purpose of the project is elusive. Fathers and sons; men and women; cocks and bulls. Life is amorphous, too full and too rich to be captured in one narrative. Written by
The real Tony Wilson (who Steve Coogan played in 24 Hour Party People (2002), another Michael Winterbottom film) plays himself, interviewing Steve Coogan on the film set. The somewhat spiky relationship between the two (who also worked together on local TV in the early 1990s) is subtly referenced in Coogan's lukewarm "let's catch up in Manchester". See more »
Given that the story's about Walter's love for his son, I really think that Walter should be there at the birth.
It's the 18th Century. Men just didn't do that. You're a 21st Century man, but Walter can't be.
He talks to the fucking camera. He can be emotional. If you saw Walter for an instant holding the baby in his arms, then you would forgive him all his flaws.
Yeah, but it would look terrible. It'd be like the scene in Robin Hood where Kevin Costner delivers a baby.
Because he's got a ...
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Throughout the closing credits, Rob and Steve talk about how they use techniques of various other actors. See more »
Lots of Cleverness and some Wit but -- I do fear -- not quite enough Shandy
Michael Winterbottom's movie is an Altmanesque production depicting an English crew shooting Laurence's Sterne's eccentric eighteenth-century literary classic. It begins wittily and appropriately with Steve Coogan exchanging mocking banter with costar Rob Bryden, and then Coogan, with cosmetically enlarged and crooked nose and proper costume, becomes Shandy introducing himself. The essentials of the book are sketched in -- first of all, Tristram's meandering account of his childhood and birth (not in any logical order -- nor should they be -- and intersperced with Coogan's caustic comments on the child actors playing him at earlier stages -- which perfectly fits in with Sterne's tendency to interrupt himself on the slightest pretext); then, Uncle Toby (Rob Briden) and his obsession with his exploits at the Battle of Naumur, which include an injury whose location he studiously avoids explicating. The mishaps surrounding Tristram's birth start with his name and move on to the forceps -- then a new device -- whose clumsy use by Dr. Slop cause the altered nose. A falling window caused even more crucial damage.
The moment of birth is dwelt upon -- then the camera cuts back to the crew and the focus shifts to the Coogan-Bryden rivalry again, Steve's girlfriend and their baby, his own problems in bed, his flirtation with a pale-coffee-colored lady crew member who's a great film buff. Coogan wants his shoes made with higher heels so he's taller than Bryden. The filmmakers hold endless confabs over how to do a battle scene and whether to bring in the romance with Widow Wadham (to be played by Gillian Anderson, who agrees from Los Angeles with comic alacrity). Anderson's presence brings in more money for the battle, and then both the battle and the romance are left out of the final cut. Much hilarity accompanies these details, though the main focus is on Coogan's stardom and inability to have a minute to himself.
Unfortunately once Winterbottom pulls away from the birth scene, the Sterne novel, which pretty much ranks with Fielding's "Tom Jones" for brilliance and humor, somewhat falls by the wayside never to be recovered till just before the end, when it seems tacked back in as a hasty afterthought. And hasty is one thing Sterne never is: impulsive and quirky, but never, never, never -- oh, my Heavens No! -- not rushed. At novel's end, his main character, after all, has still not been born.
Maybe it means something that only one member of the cast is reported to have ever actually read "Tristram Shandy" through to the end. Neither Coogan nor Bryden seems particularly eighteenth-century in their role, and Bryden's isn't a particularly inspired recreation of Uncle Toby. Nobody is amiably eccentric to the right degree.
Winterbottom has made an intermittently quite funny movie that never loses its pace, but he has recreated Robert Altman rather than Laurence Sterne, and when you realize this, if you care at all about the novel, the whole enterprise, despite its frantic energy, becomes, for all its wit and good humor, a little bit of a drag. This is an enormously clever film, but what seems brilliant on paper doesn't always play for keeps.
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