Tristram Shandy: A Cock & Bull Story is a hall of mirrors that doesn’t tease the brain (it’s easier to watch than to read about) so much as goose it into submission.
Tristram Shandy: A Cock and Bull Story (2006)
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Reviews Counted:30
Fresh:28
Rotten:2
Average Rating:7.9/10
Consensus: Though Laurence Sterne's novel was considered more or less impossible to successfully adapt to film, director Michael Winterbottom has done it in Tristram Shandy: A Cock and Bull Story, by making movie about the making of the movie. Stars Steve Coogan and Rob Brydon add madcap, knowing performances to the mix, and the result is a fun, postmodern romp, before there was any modern romp to post.
Theatrical Release:Jan 27, 2006 Limited
Box Office: $1,110,155
Synopsis: Barely stopping to breathe between productions, outrageously prolific director Michael Winterbottom follows his graphically intimate 9 SONGS with the raucously entertaining TRISTRAM SHANDY: A COCK... Barely stopping to breathe between productions, outrageously prolific director Michael Winterbottom follows his graphically intimate 9 SONGS with the raucously entertaining TRISTRAM SHANDY: A COCK AND BULL STORY. This time around, Winterbottom is out to film the unfilmable novel: an adaptation of Laurence Sterne's sprawling 18th Century masterpiece of digression, THE LIFE AND OPINIONS OF TRISTRAM SHANDY, GENTLEMAN. What begins as a seemingly straightforward attempt to recreate the frenetic novel--starring Steve Coogan as the title figure and Rob Brydon as his Uncle Toby--quickly derails into a behind-the-scenes document of the film's actual production. Working triple time (for he also plays Tristram's father), Coogan is hilarious as the insecure "Steve Coogan," a shallow actor who is more interested in his cute assistant (Naomie Harris) than the mother of his newborn child (the always delightful Kelly Macdonald). Meanwhile, "Rob Brydon" is trying desperately to convince "Steve Coogan" that his role is a co-lead, not merely a supporting one. As the production threatens to spin out of control, the filmmakers hire Gillian Anderson (playing herself, of course) to fill a much-needed role. Coming off like a madcap collision of BARRY LYNDON and 24 HOUR PARTY PEOPLE, Winterbottom's film is a hilarious and surprisingly tender ode to fatherhood and moviemaking in general. This film screened as part of Lincoln Center's 2005 New York Film Festival. [More]
Starring: Steve Coogan, Rob Brydon, Keeley Hawes, Shirley Henderson
Starring: Steve Coogan, Rob Brydon, Keeley Hawes, Shirley Henderson, Dylan Moran, David Walliams, Kelly MacDonald, Ian Hart, Jeremy Northam, Kieran O'Brien, Gillian Anderson
Director: Michael Winterbottom
Director: Michael Winterbottom
Screenwriter: Martin Hardy
Producer: Andrew Eaton
Composer: Michael Nyman
Studio: Picturehouse
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Release:
May 16, 2006
Reviews for Tristram Shandy: A Cock and Bull Story
A Cock and Bull Story is a grand giggle of a film, well worth your time and money and a game well played for the audience.
A hilariously clever picture about the making of a movie that no one will have the slightest interest in. For an experiment about an experiment, it's entirely too much fun.
Probably the best-known but-I-digress novel in English literature, The Life and Opinions of Tristram Shandy, Gentleman, has inspired Tristram Shandy: A Cock and Bull Story, surely the best but-I-digress movie this side of Adaptation.
Tristram Shandy: A Cock and Bull Story brims with humor, from a Monty Python-type take on British colonialism to a winking send-up of the film's star, Steve Coogan.
Tristram Shandy: A Cock and Bull Story is an eccentric hoot of a film, a delight for lovers of nattering British comedy. Or the business of moviemaking. Or just deadpan, postmodern silliness.
Even if you don't get all the inside jokes, and the jokes that go inside the inside jokes, I still think you'll find this film to be very, very funny.
This material is the most remote from the letter of Sterne's novel, but in its spirit of verbal play, digression and free-wheeling wit, it pays affectionate tribute to his bawdy jokester spirit.
A sly, delirious homage to the writers, producers, techies and thespians who assemble with the common mission of telling a tale, and then, many months and meltdowns later, move on to the next project -- and paycheck.
It feels made up on the spot, in the mockumentary style Winterbottom and Coogan deployed in their Manchester music-scene goof, 24 Hour Party People. But that film wasn't half as much fun as this one.
Beneath the fun lurks a dry and weary sigh at life's refusal to match the tidiness of art.
It's pretty funny. You don't actually watch it so much as indulge it and admire its cleverness.
It wonderfully evokes the life on a movie set, which for a few weeks or months creates its own closed society.
For a movie about movies, it's surprisingly humanistic, cheerful and true to life.
One trouble with the current vogue for meta-cinema is that its practioners, such as Winterbottom and Charlie Kaufman, underestimate the extraordinary difficulty of telling a good story straight.
Given the strength of the talent and material here, it's still a workable compromise for fans -- and a confusion Tristram himself would understand.
It is a sign of the film's success that extraneous moments are essential to a film that is, essentially, nuts.
With a subject seemingly so amenable to heartless derision, the film is remarkable for its warmth and generosity and conviviality.
The movie's delights unfold like an intricate, exotic puzzle: Winterbottom has built a detailed, miniature universe inside a sugar egg.
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