"The Trip" has had an interesting journey. It was originally a six−episode television series that aired on BBC Two, but has since been condensed and combined into a feature film released in the United States by IFC Films.
Steve Coogan plays a fictionalized version of himself, a frustrated actor searching for that breakthrough role but one who inevitably ends up writing a small food column for the British paper, The Observer. He and his girlfriend are going through some troubles, and she backs out of a trip that he must make to the dreary hills of Northern England in order to rate and review a series of restaurants. Coogan's long−time colleague, Rob Brydon, joins him on the trip instead.
Throughout the film, Coogan makes phone calls to his ex−wife, his son, his girlfriend and his agents, none of whom offer good news. With every call, one gains more insight into the emptiness of Coogan's life, a theme that is subtly inserted and one that is not overworked. Overall, "The Trip" should be considered a strong British light comedy, but there are instances in which the film attempts to portray a more personal aspect of human relationships and interactions.
Near the beginning of the film, there is a scene in which Coogan and Brydon are sitting in the first restaurant waiting for their food. The camera skillfully cuts between the protagonists' conversation and the kitchen, where one can see how the food is prepared. Coogan and his friend suddenly break into a discussion about how to perfect Michael Caine's accent. They take turns impersonating the change in Caine's voice from when he acted in the '60s to what he sounds like nowadays.
Everything, down to their body movements, is exact. They focus on not only the tone of his voice, but also the pitch, tempo and rhythm. This scene is the most entertaining in the film and is well−placed in its ability to help the audience better understand the relationship between Coogan and Brydon. It is extremely enjoyable to hear them reference an array of actors, characters and obscure films while they sit and enjoy their food.
One brilliant part in the film features the two characters visiting a cemetery. The entire scene is driven by their banter and almost sheer malice toward one another and it adds both depth and complexity to their relationship, which is often ambiguous. At times, it seems like Coogan does not even like Brydon but, at others, it is obvious that they enjoy each other's company. The way they manage to play off one another throughout the film, especially in the driving scenes, is so sincere and entertaining that you honestly forget that you are passively receiving information from a screen.
The film is not without its cringe−worthy scenes, though. The actors portray their competitive friendship in a very convincing but frustrating manner, reflecting the film's tendency to exaggerate each protagonists' defining characteristic. Brydon's character tries too hard to constantly be entertaining, while Coogan's character is far too immersed in his own thoughts. These defining characteristics cement the sluggish and stressed tone of the film.
Despite the uneven pacing, the improvised nature was one the film's strongest features. The almost inaudible bickering throughout the film made it seem more like eavesdropping than an actual piece of filmed entertainment. Apart from very short segments of conversations with secondary characters between the two leading men, "The Trip" does well to focus almost exclusively on the unique rapport between Coogan and Brydon. It is obvious that they, as actors, are very comfortable with each other.
Although the film may have some slow moments, it is important to remember that it was originally shot as a television series, which automatically changes the preconceived notions of the film and may even detract from its general appeal. "The Trip" should be more up the alley of film buffs who gets a kick out of obscure references and silly banter but who can also appreciate the art of improvisation despite its flaws. Still, for those non−film buffs out there, one can't help feel that though "The Trip" functioned brilliantly as a television series, it doesn't lend itself nearly as well to a full−length feature film.
