Rossi_ A Cock and Bull Story.pdf - The Tristram Shandy Web | IULM
Rossi_ A Cock and Bull Story.pdf - The Tristram Shandy Web | IULM
Rossi_ A Cock and Bull Story.pdf - The Tristram Shandy Web | IULM
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conversazione tra i due palesa chiaramente il complesso d’inferiorità di cui è<br />
vittima l’attore inglese:<br />
Coogan: Rob now has a bigger part than me. […] He’s got a battle, scene, <strong>and</strong> he’s<br />
got Agent Mulder from…<br />
Jenny: Scully.<br />
Coogan: And he’s got big heels.<br />
Jenny: And you’ve got me, <strong>and</strong> you’ve got a baby, <strong>and</strong> you’re playing <strong>Tristram</strong><br />
Sh<strong>and</strong>y.<br />
Coogan: Yeah, yeah. I am playing <strong>Tristram</strong> Sh<strong>and</strong>y in <strong>The</strong> Life of <strong>Tristram</strong> Sh<strong>and</strong>y.<br />
And you know what? At the end of the book, he’s not even born. Who told me that?<br />
No-one (27).<br />
Jenny: (irritata) Steve… I have travelled two hundred miles by train with a baby<br />
just to have sex with you.<br />
Coogan: Ok. This is not about my libido… (inizia a leggere)<br />
D’altronde, anche il Coogan in carne e ossa non ha mai provato attrazione<br />
per il romanzo di Sterne; infatti, alla dom<strong>and</strong>a di Sam Wollaston che gli chiedeva<br />
se avesse letto <strong>Tristram</strong> Sh<strong>and</strong>y, Coogan rispondeva, con fare quasi sdegnato:<br />
«<strong>The</strong> novel? Come on! Of course not. I read the script, the bit with my lines in. I<br />
heard of the novel twenty years ago - I knew what it was about, that it goes off at<br />
tangents, that it’s about extrapolating everything to the point of deliberately being<br />
unmanageable, almost a willful self-conscious deconstruction of the novel. But that<br />
wasn’t enough to get me to read it» (28).<br />
Mentre la macchina da presa inquadra Coogan intento a leggere, e mentre<br />
la sua voce off – corrispettivo uditivo dei suoi pensieri declama un passaggio del<br />
romanzo («Presently I hope I shall be sufficiently understood in telling the reader<br />
my Uncle Toby fell in love»), Jenny spiega che Widow Wadman è una ricca vedova<br />
che «[…] sees Toby, she falls in love with him, but she’s worried about his<br />
equipment.» Mentre Coogan continua a leggere («He’s fallen in love, deeply in love,<br />
up to the ears in love»), attraverso un iris siamo trasportati nel giardino di Sh<strong>and</strong>y<br />
Hall dove Widow Wadman, a passeggio con Uncle Toby, chiede al suo spasimante<br />
di raccontarle ciò che accadde durante l’assedio; entusiasta all’idea di poter<br />
descrivere le proprie imprese, l’uomo si offre di mostrarle la ricostruzione del<br />
28
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