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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Jenney lo attira a sé e lo bacia sussurr<strong>and</strong>o «fill me with your babies.»<br />
Trascorso qualche istante, l’attore realizza la gravità delle parole pronunciate<br />
dall’assistente e, dopo averle chiesto una spiegazione, l’abb<strong>and</strong>ona in mezzo al<br />
campo per tornare dalla compagna. Giunto in camera, Coogan si spoglia, si infila<br />
sotto le coperte e la bacia. «I had a nightmare» sussurra prima di fare l’amore.<br />
«Andrew Eaton [produttore della pellicola] believes that this is the turning point of<br />
the film, “Stories require a journey, a conclusion, some kind of shape <strong>and</strong> in that<br />
moment you have the redemption of Steve's character. He decides not to be<br />
unfaithful, <strong>and</strong> goes back to his wife <strong>and</strong> child. And the next day he has<br />
remembered what's important in his life. He stops getting worked up about his<br />
shoes, forgets about the stupid irrelevancies that he has been so insecure about.<br />
It's about growing up; the resolution of a mid-life crisis”» (30).<br />
Il cambiamento di Coogan è percepibile fin dalle prime ore del mattino<br />
successivo qu<strong>and</strong>o, giunto in camerino e aver provato le nuove scarpe che lo<br />
faranno sembrare più alto sostiene, a sorpresa, d’aver cambiato idea (31),<br />
permettendo così alla pellicola di raggiungere il proprio climax, ovvero il<br />
conseguimento di un’autocoscienza fino a ora inesistente. È infatti a questo<br />
punto che, come nota Leslie Felperin, anche se «[…] pic manages to be fairly<br />
faithful to the ludic, humanist spirit if not the letter of Sterne’s tome <strong>and</strong> offers a<br />
portrait of two similar bickering, ego-ridden extended “families:” the Sh<strong>and</strong>ys <strong>and</strong><br />
entourage, <strong>and</strong> the film crew itself,» si palesano «the biggest differences between<br />
Winterbottom <strong>and</strong> company’s “Sh<strong>and</strong>y” <strong>and</strong> Sterne’s: […] the former has a more<br />
rounded out ending, <strong>and</strong> there is a faint but traceable arc to the Coogan character,<br />
who transforms from self-centered jerk to slightly less selfish jerk. Even so, Coogan<br />
deserves kudos for letting lines of reality blur so much here, even down to the<br />
admission that, despite Around the World in 80 Days, he’s barely known in<br />
Hollywood» (32).<br />
Dopo aver concesso a Gary la tanto agognata intervista per un articolo<br />
intitolato <strong>The</strong> Life <strong>and</strong> Opinions of Steve Coogan, Coogan incontra la neonata che<br />
interpreterà il piccolo <strong>Tristram</strong> Sh<strong>and</strong>y. Film autocitazionista e metacinematico in<br />
cui né attori né regista cercano di nascondere l’ingerenza della realtà in ambito<br />
cinematografico, <strong>Tristram</strong> Sh<strong>and</strong>y: A <strong>Cock</strong> <strong>and</strong> <strong>Bull</strong> <strong>Story</strong> ha permesso a Sam<br />
Wollaston di intervistare Coogan sulla falsariga delle dichiarazioni “rubate” da<br />
Gary: «I return to Gary Wilson, the idiot-hack in the film, for inspiration. Wilson uses<br />
32