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.
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 »
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 »
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 film also features several pieces of music used by Stanley Kubrick in similar situations in Barry Lyndon (namely the Sarabande by Georg Fridrich Händel and traditional British Grenadiers), a film set in about the same location and period. See more »
Throughout the closing credits, Rob and Steve talk about how they use techniques of various other actors. See more »
Just as with "In This World," the British DVD features a 1.78:1 transfer of the film. Although the film was shot for release in theaters at 2.35:1, because it was made on DV, the total space of the filmed image was 1.78. The film was masked for theatrical release, as the director intended. However, for DVD release, the film was transferred open matte. Again, like "In This World," only the American DVD respects the theatrical aspect ratio of 2.35:1. See more »
Film version of a possibly unfilmable--some might say unreadable--novel
Just saw this at the New York Film Festival, where it was met with the wild enthusiasm and raucous laughter it so fully deserves.
I intentionally avoided reading any reviews before I went, as I was so curious to see how Winterbottom (whose "24-Hour Party People" I had loved) would approach this bear of a book.
The film begins with the two stars getting made-up and chatting about the size of their roles and the color of their teeth (the actors, who appeared with Winterbottom in the post-screening Q&A at the festival, assured the audience that this opening scene, as well as their conversation over the end credits, was completely improvised). The scene shifts to Tristram Shandy beginning the narration of his life with an anecdote about Groucho Marx--and proceeds to go wild from there.
The cast is made up of some of the finest actors in British television--apart from the two leads, Dylan Moran of "Black Books" and David Walliams of "Little Britain" appear, as well as Stephen Fry, Shirley Henderson, and a host of others, including a splendid turn by Keeley Hawes in a role that consists of little more than labor pains and screaming--and one American: Gillian Anderson in a couple of wonderful scenes, one as herself and the other as the Widow Wadman.
As one of the actors observes in the film, Laurence Sterne had written "a post-modern novel before modernism had even been invented," and Winterbottom honors that admirably.
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