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The Trip operates through subtle irony rather than melodrama or black comedy, but just as Cassavettes' character study revealed the mania and isolation involved in the perfection of one theatrical actor's craft, we gain insight into the dedication required to develop the skill set of the professional comedian. There aren't any scenes comparable to Gina Rowlands' increasingly self-destructive Method preparation in Opening Night, the American independent film maker's examination of artistic sacrifice as everyday experience (a thematic forerunner to Darren Aronofsky's Black Swan). The genuine chemistry that exists between them, the tension between companionship and irritable competitiveness, creates an imitation of real life with some of the revelatory quality of John Cassavettes' films. He concedes in a phone conversation to his son that Brydon's a "good friend", but that seems to be something he would never admit to the actor himself. They continue the combatative rivalry their alter egos had in A Cock and Bull Story, but for all of Coogan's sarcastic put downs there's also something more than a weary tolerance of the irrepressible Brydon. Brydon is more affable and content with the level of success he's achieved. Coogan is uptight and often miserable, seething with unfulfilled ambition. He and Brydon portray their own simulacras, composites of fiction and real personality. It could be a reference to 24 Hour Party People, the actors' first project with this director Coogan's description of the song as the "perfect soundtrack for this landscape," is a subtle echo of that film's fourth wall demolition. As they set out on their journey, he plays Joy Division's 'Atmosphere' on his Range Rover's stereo system. It's Winterbottom's most enjoyable combination of postmodernist style and plotless story telling to date.Īccording to the writer/director's docu-realist method, Steve Coogan invites fellow actor-comedian Rob Brydon on an assignment reviewing northern English restaurants and boutique hotels for The Observer.
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The self-reflexivity embodied in the Tony Wilson character's quip inhabits this view of the prosaic. His latest six-part mini-series and film The Trip is more like a good episode of Seinfeld - a celebration of the potential for comedy in the apparent nothingness of everyday life. The end result of Winterbottom's adaptive ambition is a metafiction overburdened by its intertextuality, yet too depthless to be more than ironic pastiche.
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The major philosophical conundrums and labyrinthian narrative turns of the source text, a novel essentially about a man failing to write his autobiography due to an endless series of diversions, were reduced into a parodic film about the failure to make a film.
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Coogan returned in Winterbottom's 2006 movie about a fictitious film production of The Life and Opinions of Tristram Shandy, Gentleman to explain Laurence Sterne's radical eighteenth century novel was "postmodern, before there was anything modern to be post about."ĭespite some humorous scenes between Coogan and 'co-lead' Rob Brydon, Tristram Shandy: A Cock and Bull Story was something of a misstep for Winterbottom. The notion of an assumed pre-postmodernity has become a running gag in his oeuvre. This astute weave of pun and allusion typifies how flexible self-reflexive irony can be in Winterbottom's cinema it's insinuated in dramaturgical form and foregrounded with brash one liners. It's a form of communication with roots deep in the historical construction of rhetoric - as age-old as the self-aware role play that Wilson and his new love interest adopt - yet adaptable to a growing cultural awareness of "the endless play of signs and signifiers." Spin control that can glorify a prosaic mating ritual as stylistic innovation permeates the media and political discourse these days with formulaic ubiquity. It outlined social transformations for which postmodernism remains a relevant diagnostic tool, despite its misuse by music industry (self-)promoters like lead character Tony Wilson (Steve Coogan). In one scene the Factory Records mogul attempts to justify his flirtation with a younger woman by saying he's "being postmodern.before it was fashionable." This glib aside to camera encapsulates the television presenter's interchangeable qualities as genius promoter and intellectual con artist. Michael Winterbottom's 2001 film 24 Hour Party People presented a new century perspective on England's theory-dense post-punk era from the late 1970s to the mid 1990s.