Rossi_ A Cock and Bull Story.pdf - The Tristram Shandy Web | IULM

Shirley Henderson e Keeley Hawes – rispettivamente Susannah e Lady
Elizabeth - si lamentano per il fatto che dovranno rigirare le scene del parto per il
terzo giorno di fila, esplicitando ulteriormente il forte legame esistente tra
romanzo e film; infatti, come nota Carina Chocano, «like Tristram’s attempts to tell
his story, the process of making the film is maddeningly distracting and digressive.
Over the course of the production, it gets shot, re-shot, rethought, rewritten and
partially recast before it’s finally screened in front of a smattering of disgruntled
actors, consultants and producers. The result frustrates everyone from the war re-
enactment buffs who consulted on the battle scenes, to the American star (Gillian
Anderson, playing herself), who gets hauled in at the last minute for a romantic
subplot. […] True to the spirit of the book it largely ignores (though it does manage
to sneak in its famous black page in the form of a black screen), Tristram Shandy
has no interest in glamorizing, ennobling, judging or promoting a point of view. By
the same token, it politely refrains from demonizing or moralizing. In fact, the movie
where the action transpires could be any workplace, or any social situation in
which egos, interests and values clash and dovetail, where emotions and conflicts
are heightened by financial considerations and deadline pressure. It satirizes the
movie business, but it does so affectionately, mostly because the business offers
such irresistible targets» (34).
In procinto di partire, Jenny saluta Coogan pochi istanti che questi giri la
scena del parto. Ma, finalmente presente alla nascita a lungo attesa, Sir Shandy
34