- Actors: Steve Coogan, Jeremy Northam, Stephen Fry, Patrick Wildgust, Rob Brydon
- Directors: Michael Winterbottom
- Writers: Frank Cottrell Boyce, Laurence Sterne
- Producers: Andrew Eaton, Anita Overland, David M. Thompson, Henry Normal, Jeff Abberley
- Format: AC-3, Closed-captioned, Colour, Dolby, DVD-Video, Subtitled, Widescreen, NTSC
- Language English
- Subtitles: English, Spanish
- Region: Region 1 (US and Canada DVD formats.)
- Aspect Ratio: 16:9 - 1.66:1
- Number of discs: 1
- Classification: R (Restricted) (US MPAA rating. See details.)
- Studio: Hbo Home Video
- DVD Release Date: 11 July 2006
- Average Customer Review: 4.0 out of 5 stars See all reviews (2 customer reviews)
- ASIN: B000EOTFBW
- Amazon Bestsellers Rank: 72,773 in Film & TV (See Top 100 in Film & TV)
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Customer Reviews
Most Helpful Customer Reviews
7 of 8 people found the following review helpful
Format:DVD
The classic novel by Laurence Sterne is best described in this movie: "This is a postmodern novel before there was any modernism to be post about."
So it sounded pretty disastrous that a film was being adapted from it. Actually, half a film -- the other film is a mockumentary about a film crew desperaately trying to make some kind of movie, out of a book with way too much material. It's wickedly clever, but there's too little Tristram Shandy and too much about the shoes.
While his mother is in labor, a grown Tristram Shandy (Steve Coogan) narrates the backdrop of his life -- his awkward conception, the farcical circumstances of his birth, early penile injury, his uncle's obsessions and (ahem) war wounds, and the circumstances of being named Tristram (and not Trismegistus, which is even worse).
But then we cut to the real world, where a film crew is filming the whole thing. Star Steve Coogan (himself) and director Michael Winterbottom (Jeremy Northam) are struggling to make this novel as true to the spirit of Stern's book as possible. The problem is, there's WAY too much material, and everyone wants different aspects -- love story, battle, his own character -- to stand out as the MAIN part of the story. Will the movie be funny? A sell-out? A big confusing mess?
Filming an unfilmable book is usually either going to be a disaster or a masterpiece -- for the latter, look at "Lord of the Rings." But "Tristram Shandy" hovers somewhere in the middle, courtesy of its mockumentary storyline, and some pointed mockery of the studio bigwigs.
Basically, the bigwigs interfere and insist on stars -- such as Gillian Anderson, who barely makes it to the final cut -- and hoard money, because the movie is too quirky for their tastes. Meanwhile, the stars quibble about minutiae (like shoe height), and real-life director Michael Winterbottom deliberately blurs the lines of fantasy and reality, letting one seep into another. And it has Coogan in a giant plastic womb.
And there's an extra kudos for the dialogue. Half of it is deliciously witty modern stuff ("The thing is, I can't act..." "I know that." "... with Gillian Anderson. I have a proper sexual thing for Gillian Anderson. I covet her"), but there's a whole different style for Tristram. He tends to have these faux-serious metafictional monologues, which end up being very funny ("That is a child actor, pretending to be me. I'll be able to play myself later").
The problem? Well, there's too much of Coogan and not enough Shandy, especially in the second half. It would have improved the movie dramatically to cut some of this stuff about Coogan flirting with Jennie out, because it's really quite dull compared to Tristram. When the fantasy/reality starts leaning too heavily into reality, the movie starts sagging. Big time.
Coogan does a pretty good job playing himself, but he's much better as Tristram/Walter -- arch, wry and kind of inconsiderate. Rob Brydon is enormous fun as himself/Toby, and Naomie Harris is fairly good as a movie nut who specializes in arty German cinema, and not much else. Anderson isn't in the movie for long, but her "equipment" scene is gutsplittingly funny.
"Tristram Shandy - A Cock and Bull Story" is a very funny film, but one bogged down by too much reality (and Coogan). Entertaining, witty and strange.
So it sounded pretty disastrous that a film was being adapted from it. Actually, half a film -- the other film is a mockumentary about a film crew desperaately trying to make some kind of movie, out of a book with way too much material. It's wickedly clever, but there's too little Tristram Shandy and too much about the shoes.
While his mother is in labor, a grown Tristram Shandy (Steve Coogan) narrates the backdrop of his life -- his awkward conception, the farcical circumstances of his birth, early penile injury, his uncle's obsessions and (ahem) war wounds, and the circumstances of being named Tristram (and not Trismegistus, which is even worse).
But then we cut to the real world, where a film crew is filming the whole thing. Star Steve Coogan (himself) and director Michael Winterbottom (Jeremy Northam) are struggling to make this novel as true to the spirit of Stern's book as possible. The problem is, there's WAY too much material, and everyone wants different aspects -- love story, battle, his own character -- to stand out as the MAIN part of the story. Will the movie be funny? A sell-out? A big confusing mess?
Filming an unfilmable book is usually either going to be a disaster or a masterpiece -- for the latter, look at "Lord of the Rings." But "Tristram Shandy" hovers somewhere in the middle, courtesy of its mockumentary storyline, and some pointed mockery of the studio bigwigs.
Basically, the bigwigs interfere and insist on stars -- such as Gillian Anderson, who barely makes it to the final cut -- and hoard money, because the movie is too quirky for their tastes. Meanwhile, the stars quibble about minutiae (like shoe height), and real-life director Michael Winterbottom deliberately blurs the lines of fantasy and reality, letting one seep into another. And it has Coogan in a giant plastic womb.
And there's an extra kudos for the dialogue. Half of it is deliciously witty modern stuff ("The thing is, I can't act..." "I know that." "... with Gillian Anderson. I have a proper sexual thing for Gillian Anderson. I covet her"), but there's a whole different style for Tristram. He tends to have these faux-serious metafictional monologues, which end up being very funny ("That is a child actor, pretending to be me. I'll be able to play myself later").
The problem? Well, there's too much of Coogan and not enough Shandy, especially in the second half. It would have improved the movie dramatically to cut some of this stuff about Coogan flirting with Jennie out, because it's really quite dull compared to Tristram. When the fantasy/reality starts leaning too heavily into reality, the movie starts sagging. Big time.
Coogan does a pretty good job playing himself, but he's much better as Tristram/Walter -- arch, wry and kind of inconsiderate. Rob Brydon is enormous fun as himself/Toby, and Naomie Harris is fairly good as a movie nut who specializes in arty German cinema, and not much else. Anderson isn't in the movie for long, but her "equipment" scene is gutsplittingly funny.
"Tristram Shandy - A Cock and Bull Story" is a very funny film, but one bogged down by too much reality (and Coogan). Entertaining, witty and strange.
7 of 28 people found the following review helpful
Format:DVD
the end
ha, ah
now the begining. one day i'll write a great review of the greatest film ever made. after all, flattery is the sincerest form of... what ? then again before i started to type this i thought, i should inform the general public of the absolute necessity to watch this dvd, but that would be pompous... then the wife made me a cup of tea and i realised that playing dominoes with my son is pure joy.
then i watched the dvd, again
then i remembered that it's difficult to get anything organised what with all the other dvd's to watch. so i've rushed this bit.
the following empty lines represent review contemplation
now, that's funny
ha, ah
now the begining. one day i'll write a great review of the greatest film ever made. after all, flattery is the sincerest form of... what ? then again before i started to type this i thought, i should inform the general public of the absolute necessity to watch this dvd, but that would be pompous... then the wife made me a cup of tea and i realised that playing dominoes with my son is pure joy.
then i watched the dvd, again
then i remembered that it's difficult to get anything organised what with all the other dvd's to watch. so i've rushed this bit.
the following empty lines represent review contemplation
now, that's funny
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
46 reviews
56 of 63 people found the following review helpful
Very different, and very funny
16 April 2006
Format:DVD
Forget most of what you've read about this movie. It is not postmodern, nor "Pythonesqe", nor any of the other adjectives I've read in user reviews. What it is is a very intelligent, and very different piece of filmmaking that is quite unlike anything you've ever seen. If I had to compare it to any movie in recent history, I'd say it's a bit like "Adaptation", but that film was crude and heavy handed in comparison to "Tristram Shandy". It's also a bit like "This Is Spinal Tap" in the deadpan way it presents some very silly parody.
Imagine a Merchant-Ivory costume drama in which the principal actor suddenly stops, turns to the camera, and tells a Groucho Marx story, And imagine that part way through an increasingly confusing narrative, that keeps movinng forward and back, in fits and starts, the camera abruptly pulls back, and we see a film being made.
From that point on, "Tristram" becomes the story of the attempt to make a film from a very difficult to film novel, with a very difficult cast. The lead hasn't read the book, and is consumed with petty jealosies concerning the main supporting actor. The producers don't want to put any more money into it. And it just gets sillier, and sillier- while never quite falling into slapstick.
In point of fact, as conditions around the film get sillier, the lives of the main characters become more complicated, and consumed by some very serious issues. And yet everything slowly comes togethers, a few people learn a few lessons, and a film is made... although no one seems to ber very pleased with the results. And then, as the credits are rolling, the two main actors are debating acting techniques, in what may be the funniest scene of the entire film.
So what we have here is a very complex film that requires close attention, and perhaps even a little knowledge of literature and history to get all the jokes. This is not simple minded slapstick, and those who prefer that sort of humor simply aren't going to get it. But for veiwers who bring with them the intelligence to apppreciate all the jokes and references, it delivers a very satisfying and laughter filled two hours.
Imagine a Merchant-Ivory costume drama in which the principal actor suddenly stops, turns to the camera, and tells a Groucho Marx story, And imagine that part way through an increasingly confusing narrative, that keeps movinng forward and back, in fits and starts, the camera abruptly pulls back, and we see a film being made.
From that point on, "Tristram" becomes the story of the attempt to make a film from a very difficult to film novel, with a very difficult cast. The lead hasn't read the book, and is consumed with petty jealosies concerning the main supporting actor. The producers don't want to put any more money into it. And it just gets sillier, and sillier- while never quite falling into slapstick.
In point of fact, as conditions around the film get sillier, the lives of the main characters become more complicated, and consumed by some very serious issues. And yet everything slowly comes togethers, a few people learn a few lessons, and a film is made... although no one seems to ber very pleased with the results. And then, as the credits are rolling, the two main actors are debating acting techniques, in what may be the funniest scene of the entire film.
So what we have here is a very complex film that requires close attention, and perhaps even a little knowledge of literature and history to get all the jokes. This is not simple minded slapstick, and those who prefer that sort of humor simply aren't going to get it. But for veiwers who bring with them the intelligence to apppreciate all the jokes and references, it delivers a very satisfying and laughter filled two hours.
13 of 13 people found the following review helpful
Inspired modern classic
6 Mar 2006
Format:DVD
Brilliant modern take on an early novel. The director captures the premise of the novel: that life is chaos by setting the film in the past and present at once. Brilliant concept and execution. I didn't know what to expect, but thoroughly enjoyed the film and it's cleverness, it's inspired direction and editing and some stellar performances. A joy to watch.
10 of 12 people found the following review helpful
"It was post-modern before there was a modern to be post about!"
12 July 2006
Format:DVD
To fully appreciate Tristram Shandy: A Cock and Bull Story, most viewers who haven't read the famous Laurence Stern novel upon which the film is loosely based, will at least need to have an idea of its concept. But I cannot envisage getting into this film with no foreknowledge of both the novel and Steve Coogan's irreverent brand of comedy.
The tone is light-hearted and witty, and the performances are very good, and the period induced first half is an absolute riot, but Michael Winterbottom's latest film might be a bit elitist for most, depending a little too much on parallels to the classic book's structure and the fashionable imprint of Coogan's celebrity. It all presupposes that you're part of the "in" club and familiar with the humor to actually get the joke.
Anyway, for those of us who appreciate films that impertinently skewer the classics of English Literature the Tristram Shandy is mostly a real treat. The film begins with Steve Coogan and Rob Brydon in makeup, arguing over the colour of Rob's teeth and whether Brydon's part is a "co-lead" or a supporting role.
Coogan is supposed to be the title character, which makes him, supposedly, the star of the picture, but as the story progresses, he becomes increasingly concerned that his star wattage is being taken away from him. But I digress - the first half of the movie involves Tristram's birth as the movie constantly flips backwards and forwards with his father (played by Coogan) trying to meticulously plan his conception, birth and life. Shirley Henderson does a marvelous turn here as a maid trying to get everyone to focus on the birth.
The movie then interrupts Sterne's narrative and switches to the story of the director (Jeremy Northam) shooting a film adaptation of the book, starring Coogan and Brydon. The production is plagued with problems - the period shoes aren't high enough, the costumes aren't quite the correct period, and there isn't enough money for the battle scenes.
The story ambles between scenes of the movie being shot, and scenes of the actors, director, writer, producers, wardrobe people and others involved in the production as they wrangle, flirt and drive each other crazy. Coogan is beset by a sycophantic journalist while being pressured to constantly attend to his lovely girlfriend Jenny (Kelly MacDonald), who has traveled to visit him over the weekend with their infant son.
Coogan's assistant Jennie (Naomie Harris) - a film nut and Fassbinder enthusiast - has a crush on him, and in one-instance, propositions him. The film is shot, then re-shot, with the costumers resorting to tears and the production assistants getting more frustrated and when the film is finally screened for a group of writers and producers, they all realize what a monumental failure they have on their hands.
Luckily American actress Gillian Anderson is available to save the day, and at the last moment gets hauled in for a romantic subplot playing the previously excised Widow Wadman. The film is very clever in its re-imagining of the novel and all the actors are superb with their improvisations and impeccable timing.
Depending on how you feel about Steve Coogan, you might find that his constant banter becomes a bit irritating after a while. Characters seem to come into the film, then leave at random never fully coming into focus. I would love to have seen much more of Gillian Anderson and Shirley Henderson - and even more of the sexy Jeremy Northam.
The film also employs various stylistic devices such split screens, sideswipes and closing irises and of course there's the film within a film concept which as been used before. As a film about the difficulty of making a film based on a book about the difficulty of writing a book, Tristram Shandy is pretty unique.
It's probably a bit of a stretch to call it one of the best movies of 2006 so far, but parts of it are entertaining and it certainly takes us though the coarse and stressed out tumult of the classics of literature and movie making, breaking down celebrity, and focusing on all the obsequious and the nastiness that goes along with it. Mike Leonard July 06.
The tone is light-hearted and witty, and the performances are very good, and the period induced first half is an absolute riot, but Michael Winterbottom's latest film might be a bit elitist for most, depending a little too much on parallels to the classic book's structure and the fashionable imprint of Coogan's celebrity. It all presupposes that you're part of the "in" club and familiar with the humor to actually get the joke.
Anyway, for those of us who appreciate films that impertinently skewer the classics of English Literature the Tristram Shandy is mostly a real treat. The film begins with Steve Coogan and Rob Brydon in makeup, arguing over the colour of Rob's teeth and whether Brydon's part is a "co-lead" or a supporting role.
Coogan is supposed to be the title character, which makes him, supposedly, the star of the picture, but as the story progresses, he becomes increasingly concerned that his star wattage is being taken away from him. But I digress - the first half of the movie involves Tristram's birth as the movie constantly flips backwards and forwards with his father (played by Coogan) trying to meticulously plan his conception, birth and life. Shirley Henderson does a marvelous turn here as a maid trying to get everyone to focus on the birth.
The movie then interrupts Sterne's narrative and switches to the story of the director (Jeremy Northam) shooting a film adaptation of the book, starring Coogan and Brydon. The production is plagued with problems - the period shoes aren't high enough, the costumes aren't quite the correct period, and there isn't enough money for the battle scenes.
The story ambles between scenes of the movie being shot, and scenes of the actors, director, writer, producers, wardrobe people and others involved in the production as they wrangle, flirt and drive each other crazy. Coogan is beset by a sycophantic journalist while being pressured to constantly attend to his lovely girlfriend Jenny (Kelly MacDonald), who has traveled to visit him over the weekend with their infant son.
Coogan's assistant Jennie (Naomie Harris) - a film nut and Fassbinder enthusiast - has a crush on him, and in one-instance, propositions him. The film is shot, then re-shot, with the costumers resorting to tears and the production assistants getting more frustrated and when the film is finally screened for a group of writers and producers, they all realize what a monumental failure they have on their hands.
Luckily American actress Gillian Anderson is available to save the day, and at the last moment gets hauled in for a romantic subplot playing the previously excised Widow Wadman. The film is very clever in its re-imagining of the novel and all the actors are superb with their improvisations and impeccable timing.
Depending on how you feel about Steve Coogan, you might find that his constant banter becomes a bit irritating after a while. Characters seem to come into the film, then leave at random never fully coming into focus. I would love to have seen much more of Gillian Anderson and Shirley Henderson - and even more of the sexy Jeremy Northam.
The film also employs various stylistic devices such split screens, sideswipes and closing irises and of course there's the film within a film concept which as been used before. As a film about the difficulty of making a film based on a book about the difficulty of writing a book, Tristram Shandy is pretty unique.
It's probably a bit of a stretch to call it one of the best movies of 2006 so far, but parts of it are entertaining and it certainly takes us though the coarse and stressed out tumult of the classics of literature and movie making, breaking down celebrity, and focusing on all the obsequious and the nastiness that goes along with it. Mike Leonard July 06.
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