THE TRIP
UK, 2010, 107 minutes. Colour.
Steve Coogan, Rob Brydon, Margo Stilley.
Directed by Michael Winterbottom.
A friend, given to rhetorical declamation, used to say, instead of simply, ‘Why?’, ‘To what purpose?’. This came to mind during the screening of The Trip. The impression the film gave was that, above and beyond the newspaper, The Observer, asking Steve Coogan to travel for a week around northern England and sample some B and Bs and the cooking, there was some deeper purpose. Was it any more than Coogan and actor, Rob Bryden (who had worked together in Michael Winterbottom’s clever film about the possibility of making a movie of Laurence Sterne’s Tristram Shandy – it had the title A Cock and Bull Story) improvising repartee that gave rise to some audience reflection, of providing some edgy as well as friendly interaction between two characters with some reference to their life, relationships and success in their careers? Or was that enough?
It will depend on how interesting you find the Coogan and the Bryden characters (while wondering how much is real and how much ‘fictitious’). It is easy to like Bryden. It is not so easy to like Coogan. Bryden is married with a young child and they miss him while he is away, very happy to have him back. Coogan’s current girlfriend is having a hiatus from the relationship and is in the US, though he does some improvising as well with two young women he encounters on the trip. While he visits his sympathetic parents, he goes back, alone, to his London flat. Which means there are some moral speculations and judgments made during the six days away.
This shouldn’t be a problem but they travel during winter and, I presume, others as well as myself were relieved when the sun finally came out and shone for a while on Friday – their first day away was Monday.
Both actors are skilled at improvising conversations, and The Trip was originally a six part series of 30 minutes each for British television. This compilation is skilfully edited, though this always raises curiosity about what was omitted. The two go through a range of moods, especially Coogan who seems to want some touches of the celebrity in accommodation and meals. Just a thought, but maybe some audiences will simply enjoy all the meals and their preparation.
There is a funny repartee about the phrase in war and historical films, ‘we rise at dawn’. The pair offer a range of variations that could be used,’ we leave at ten-thirtyish’... When Coogan talks too much about the geography of a landmark, he is confronted by a man with a neverending geological spiel.
One of the more enjoyable features of their journey, which covers quite a lot of ground and different buildings, rooms and dining places, is their capacity for impressions. They both do very good Michael Caines. Bryden is good at Hugh Grant, less so with Dustin Hoffman. And there are plenty of James Bond and Blofelds from them both.
So, at the end of The Trip? Something of a visual and verbal soufflé with hints of something more substantial.
1. A 21st century English picaresque story? The Observer and its commission to the two comedians? The trip itself, the meals, the bed and breakfasts, the various encounters? Conversations?
2. Steve Coogan and Rob Brydon and their careers, their characters here as real, as fictional? Their relying on each other? The mutual mockery? The comedy, the range of impersonations, especially Michael Caine, Anthony Hopkins, Sean Connery, James Bond and Blofeld? The reference to their films? The rivalry and friendship?
3. The UK settings, the north counties, the towns and villages, the mountains and lakes, London? A feeling for the real UK?
4. Bed and breakfasts and their style, the staff, the rooms, comfort, Steve Coogan and his complaints?
5. The variety of meals, the visuals of the meals, the cooking, the chefs, the discussion of the ingredients, the manner of preparation and serving?
6. The premise for the trip, The Observer? The commissioning? Steve Coogan and wanting Mischa to accompany him? Her decision to leave England? Going to Los Angeles? Rob Brydon as a substitute? His decision to leave his family for the week?
7. The trip, Coogan picking up Brydon, driving on the motorways, the various maps, their talk? Apprehensions about the trip?
8. The importance of conversation, the range of subjects, middle-aged men, their careers, talking about themselves, relationships, sexuality, television and film? Their capacity for jokes and impersonations? Deeper questions of life? Self-assessment in comparison with the other?
9. Michael Caine, Anthony Hopkins, James Bond and Blofeld? The entertainment value of the accurate impersonations?
10. The day structure of the film, the effect, audience expectations as the week passed? The weather in the different towns, on the different days – Friday and some sunshine?
11. Steve Coogan and his persona, his ambitions, estimation of his career, his fame, people acknowledging him? The comparison of rooms with those of Rob Brydon? The Polish girl on the first day? His moods, his walks, his listening to Rob, the walk on the cliff, meeting the bore and listening to his descriptions? An idiosyncratic personality?
12. Audiences liking Rob Brydon better? More agreeable? Playing second fiddle? His arguments, jokes, repetition? Trying to survive against Coogan? His relationship with his wife, coming home and the happy reunion?
13. Coogan, his relationship with Mischa, her going to Los Angeles, the various phone calls, her personality, the nature of the relationship, the possibilities? His discussion with his agent on the phone, the issue of the series in the US and his committing to it?
14. The return to London, Brydon to the warmth of his family, Steve Coogan alone, looking out on London at night?
15. The achievement of the trip, the audience sharing time and listening in to the conversations – and being interested and amused?
