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The Trip to Italy

Released: August 15, 2014

• director Michael Winterbottom

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Released: April 15, 2014

Format: Digital (2 min)

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Two men, six meals in six different places on a road trip around Italy. Liguria, Tuscany, Rome, Amalfi and ending in Capri.

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The Trip to Italy (2014)

Years after their successful restaurant review tour of Northern Britain, Steve Coogan and Rob Brydon are commissioned for a new tour in Italy.

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Lasting Impressions

By David Denby

It’s been said of great mimics that they capture not just the voice and the manner of their subjects but their very souls. Steve Coogan and Rob Brydon, master impersonators and stars of the new comedy “The Trip to Italy,” are after something less grand and, in many ways, funnier. The movie is a sequel to “The Trip” (2011)—both were directed by Michael Winterbottom—and it repeats the earlier film’s mixed tone of hilarity and melancholia, as well as its absurd premise: the two men (they play themselves) are on an all-expenses-paid trip for the Observer . Their tough assignment is to drive through beautiful country, eat lavishly, and stay in exquisite small hotels, all so that one or the other can write high-toned culinary drivel for the paper. (They don’t actually know anything about food.) “The Trip” was set in the bleakly magnificent scenery of the hills and moors of the North of England; this film is set mainly along the incomparable coast (Liguria, Amalfi) of Italy. As the men amble through paradise, savoring such dishes as polpo alla griglia and coniglio arrosto , they take turns topping each other with riotous impressions of movie stars. They aren’t interested in anyone’s soul; they see themselves simply as professionals in an exacting trade that requires getting Christian Bale’s guttural whisper and Roger Moore’s English-butter croon exactly right. They also try to one-up each other as men, vying for professional success and for the attention of the invariably lovely women they meet. Sharks have duller teeth than Coogan and Brydon. Both movies, in fact, are about the impossibility—and the necessity—of male friendship.

Each film began as a six-part series on the BBC, and what we see, presumably, are the highlights. Yet if I hadn’t known that the footage had been cut way down I wouldn’t have guessed it. Winterbottom laid out the gist of a given scene, and the men improvised the rest, often taking off on bizarrely intricate riffs. Driving, eating, checking into hotels, lying alone (and sometimes not alone) at night—the recurring scenes, like the refrain of a song, give the movie formal clarity and simplicity, while, within the scenes, the editors (Mags Arnold, Paul Monaghan, and Marc Richardson) smooth what must have been ragged exchanges into unbroken streams of conversation.

The pace almost equals that of Robin Williams doing standup, but Coogan and Brydon reprise their best sallies for rhythm and for emphasis, so you won’t miss anything that matters. Ogling the scenery in “The Trip to Italy,” you wonder if the men’s small car—a Mini Cooper—will drive off the edge of a cliff, or if, when they board a yacht in the Golfo dei Poeti, someone will fall overboard and drown. But the “plot” is no more than the men’s thorny emotional connection and their mutual fixation on death. The only conventional suspense is whether Brydon and Coogan will return to their families or remain among the young women of Sorrento and Positano, catching octopus and squid.

Brydon, who is largely unknown in this country, has a long pale face, a Bugs Bunny smile, and pitted skin like that of his fellow-Welshman Richard Burton. Brydon’s voice is like Burton’s, too—baritonal, musical, and expansive. When Brydon reads Shelley in his imitation-Burton voice, he sounds nearly as authoritative as the Master. (He also does a mean Ian McKellen.) Brydon’s voice can go up or down an octave, or shrink, through some glottal mystery, to the tiny sound of a man in a box, a favorite routine that he does on British TV. Perhaps the most extraordinary of his impressions is a long series in “The Trip” devoted to Michael Caine at different stages of his life, from a snarling young Cockney to the elderly, hyper-polite butler in the “Batman” movies. Even as Brydon delivers his rendition, however, Coogan disputes his technique. You have to talk through your nose, he says; you have to get the nasality right, and he honks through his Michael Caine. For both men, craft is a passion, and the voice is supreme. When Brydon does Hugh Grant, the meaning of the words gets lost in a thicket of Grantian hesitations, jokes, and daft circumlocutions, only to emerge victoriously in a proposal that few women could resist. An actor’s distinctive voice is not just an element of leading-man stardom (which the two know they will never achieve) but the main equipment of sexual prowess. Coogan and Brydon’s Hollywood envy keeps the comedy free of sycophancy and appropriately hostile. Imitating well is the best revenge.

Coogan is best known here for his work in the Stephen Frears movie “Philomena” (2013), in which he played the real-life journalist Martin Sixsmith, an argumentative skeptic who helps Judi Dench’s Philomena Lee, a forgiving Catholic Irish woman, search for her long-lost son. Working in a softened version of screwball comedy, Coogan and Dench bantered with spirit but without sentiment. Yet, even in that relatively gentle role, Coogan, frowning, his pursed lips bordering on a sneer, came off as an articulate grouch. In the “Trip” films, playing a version of himself, he’s intelligent and dyspeptic, a man too clever to live by illusions but too ambitious to give them up. He’s dissatisfied with everything—his career, his relationship with his children, his waning sexual attractiveness—and he takes it out on his friend. In return, Brydon, in “The Trip to Italy,” concocts no fewer than three fantasies of murdering him, including a precise reënactment of the famous retaliation scene from “The Godfather: Part II.” As a portrait of male friendship, the “Trip” films are a triumph of the lean British comic style over the maunder and the mush of American bromance—Jason Segel and Seth Rogen pinching each other’s blubber.

Both films pursue the high and the low: a complicated deep-running sadness courses through the cynical, sybaritic adventures. In “The Trip,” Coogan and Brydon visit the villages where Wordsworth and Coleridge lived; they invade the poets’ tiny rooms, and recite, under gray skies, stretches of their early work, most of it devoted to loss and grief. The readings are done straight, with love and skill. Yet we’re meant to notice the diminution: from nature as spiritual necessity to tourist site; from poetry to show business; from inspiration to career worries. Coogan and Brydon abhor self-aggrandizement and self-promoting bluster—they know that what they do isn’t poetry.

The implicit comparisons recur in Italy, where the men visit the towns in which the sexual outlaws Byron and Shelley lived, shortly before their deaths. The comics perform funerary obsequies for the poets and again recite in their own and others’ voices. “The Trip to Italy,” for all its japes, is haunted by mortality, as was its namesake, “Viaggio in Italia” (1954), the Rossellini masterpiece starring George Sanders and Ingrid Bergman as a warring couple dismally on tour. Like them, Coogan and Brydon visit the museum at Pompeii, with its plaster casts of the bodies of the dead. Rossellini showed us a couple who died locked in embrace when Vesuvius exploded, a harsh reflection on the modern couple’s marital anguish. Here, in a blasphemous reduction, Brydon summons his man-in-a-box voice to play a Pompeian lying in a glass case; the two carry on a discreet gay flirtation. It’s not that the end is nigh for these men, but death, for them and for Winterbottom, is always present in life. Over and over on the soundtrack, Winterbottom plays the beginning of “Im Abendrot,” the last of Richard Strauss’s “Four Last Songs,” composed in 1948, a year before he died, at the age of eighty-five. The use of classical music in movies normally makes me wince, but in this film the glorious Strauss farewell fits every time.

James Agee, writing in The Nation , in 1946, noted that Groucho Marx, working with “extremely sophisticated wit . . . has always been slowed and burdened by his audience, even on the stage. He needs an audience that could catch the weirdest curves he could throw, and he needs to have no anxiety or responsibility toward even a blunter minority, let alone majority.” That audience now exists; it has been created during the past forty years by British and American television, particularly by cable television. Whether such people go to the movies anymore is a vexed question. On the opening day of “The Trip to Italy,” I sat in a New York art house among a gathering of decidedly mature viewers, who were apparently expecting a beach-and-mountain travelogue. For a hundred and ten minutes, watching some of the funniest comedy in years, they maintained a puzzled silence. The British, in their curious game of cricket, don’t throw weird curves; they deliver fast bowls. The two Winterbottom-Coogan-Brydon movies deserve an American audience, ready for wit, that can play along. ♦

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By Anthony Lane

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The founder of this site once said a very wise thing. Well, he actually said quite a few very wise things, but here’s one I go over and over pretty frequently: "There are two things you can't argue in film: comedy and eroticism. If something doesn't make you laugh, no one can tell you why it's funny, and it's difficult to reason someone out of an erection." That’s pretty funny in and of itself. Anyway, I’ve always respected Roger Ebert’s rule of comedy, which he articulated differently in various pieces over the course of his life, and which I distilled in my own mind as an instruction: If something’s funny, and you laugh at it a lot, you’ve gotta own it. (If you know me at all, you also know that I’ve got a laugh that’s kind of hard not to own—when I lose it, it’s pretty loud. I think Fox Searchlight bought “ Napoleon Dynamite ” at Sundance partially in the strength of my reaction to the steak-throwing joke.)

So here’s the breakdown: I laughed like a maniac at the Michael-Caine-impersonation reprise performed by comic actors Steve Coogan and Rob Brydon at the front end of “The Trip To Italy,” the followup (to call this a sequel is kind of special pleading, really) to “ The Trip .” The difference, by the way, being that in the prior film—both are distilled from somewhat longer television mini-series-es broadcast in Great Britain—the fellows gallivanted around the British countryside and in this picture they are in, you guessed it, Italy. To get back to the record, I also laughed like a maniac at the pictures end, in which Brydon and Coogan discuss various James Bonds in front of an appreciative audience of actors playing the publicist and teenage son of the characters played by Brydon and Coogan, who are lightly fictionalized versions of themselves. And I laughed consistently and appreciatively at many of the scenes in between, some of which depict the actors singing along to an Alanis Morrissette CD.

So if you go in for allusive British humor that builds slowly from dry to uproarious, as executed by two absolute masters of the form, “The Trip To Italy” will work for you, I believe. I also think the film, directed, like the prior one, by the astute Michael Winterbottom , is a somewhat smoother trip than the first. In that one, Coogan, who’s better known internationally than Brydon, was the focus, and the movie’s plot, such as it was, was hooked into his work and personal anxieties as he took a break from his Hollywood career just as it entered a pivotal moment. Here the focus is on Brydon, who gets a call from Hollywood, and also succumbs to a vacation flirtation that results in a pretty serious domestic misstep. Because the viewer is arguably less familiar with Brydon, the fiction is more convincing; we’re spared the potential distraction of trying to separate and/or combine the “real” person from the character he’s playing. Which leaves us more focus for the incredible-looking Italian meals the pair sample (these trips are foodie fodder for newspaper articles Brydon writes), and the impeccably delivered banter they exchange. It all looks scrumptious, which makes this movie a terribly refreshing one with which to close out the summer.

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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The Trip to Italy (2014)

108 minutes

Steve Coogan as Steve

Rob Brydon as Rob

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The Trip to Italy

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Rent The Trip to Italy on Prime Video, Apple TV, or buy it on Prime Video, Apple TV.

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While perhaps not quite as fresh as Coogan and Brydon's original voyage in The Trip , The Trip to Italy still proves a thoroughly agreeable sequel.

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Michael Winterbottom

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The Trip to Italy: Britain's best ever improv comedy series?

I n order to protect itself from editorial scandal, the BBC asks producers of recorded programmes to complete what it calls a "compliance form". Much as it sounds, it warns of potentially contentious content. One of the boxes to be filled concerns "references to living individuals."

When it comes to tonight's return of The Trip – Steve Coogan and Rob Brydon 's culinary travelogue series ( the first was set in the Lake District , this one is in Italy ), this section of the document must be almost funnier than the programme itself (which is saying something). In the first episode we see Coogan and Rob Brydon having a conversation about whether – if forced to resort to cannibalism of dead passengers after surviving a plane crash - they would prefer the legs of Mo Farah or Stephen Hawking. It's an amusing start.

But there is another section of the pre-transmission document: one that deals with possible complaints about taste. This exchange might also be mentioned here, as would a conversation in which the men fantasise about Brydon - if he were jailed for the murder of Coogan - receiving a Bafta award by satellite link-up to his maximum security prison (while a love-sick cell-mate summons him to his bunk for a cuddle).

What's interesting is that, if The Trip to Italy were a drama or sitcom, there would be a risk of some of this material getting caught up in BBC admin; questioned or censored at script stage. But under the direction of their regular collaborator, Michael Winterbottom , Coogan and Brydon are improvising. The enjoyable sense of edge in the sitcom results from the fact they are playing their parts off the cuff.

In a medium where senior executives often take the title of "controller", making it up as you go along is an extremely infrequent method - much more infrequent than you'd think. If asked to name an improv show on the spot, most viewers would reach for Whose Line is it Anyway? , the 90s Channel 4 series that aired for a decade. The comedian Robin Williams starred in an American edition of this series and his own sitcom, Mork and Mindy , used the same technique (the latter was deliberately written with gaps in the script to permit Williams to riff). In British television, we've intermittently had improvised dramas, most famously Mike Leigh 's TV versions of rehearsal-created stage plays Abigail's Party and Nuts in May , but also in the work of the writer-director Dominic Savage (Freefall, Love and Hate). In drama, though, improvisation has mostly been used to help generate a fixed script; as a chance to experiment until the desired result is reached. Surely this makes Coogan and Brydon's show the most sustained and successful example we've had of genuine ad-libbing.

If you didn't see the first series, the general conceit of the show is that Brydon is writing restaurant reviews for the Observer and has invited along friend-rival Coogan to join him on his trip. Both men are given fake families, played by actors, with whom they have phone and Skype conversations from their hotels. What feels real, however, is the sense of needle between the performers and their desperation to get the better of each improvised conversation. Whose Line is it Anyway? was driven by the rabid competition between male performers in particular and The Trip is most reminiscent of that series in this sense.

In the first series of The Trip, "impersonation face-offs", in which Coogan and Brydon duelled to death their versions of Roger Moore and Michael Caine , were a running gag. And, although Coogan objects in an early scene ("We're not going to be doing any impersonations, are we? We talked about that"), this thankfully proves to be another pretence. The second episode of series two features an extraordinary exchange in which Brydon is doing Roger Moore playing Tony Blair and Coogan is Saddam Hussein doing a Frank Spencer impression.

Even more so than in first series, we are offered the pleasure of seeing two clever comics genuinely thinking on their seat at restaurant tables. When Brydon begins the conceit of winning a Bafta for killing Coogan, you can see the glint in the Coogan's eye when he starts to think about where they can go with this. Until now, any debate about the best use of improvisation on TV has suffered from a general assumption about whose title it is, anyway. The ultra-competitive comedians, though, make it a genuine fight.

The Trip to Italy airs on Fridays at 10pm on BBC2

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The invitation to the WASBE Conference marks a historic milestone for CWU as it is the first time the university has received an invitation to attend the prestigious event. Furthermore, it will be the inaugural performance by CWU students at the WASBE Conference, underscoring the institution's reputation for excellence in music education and performance. “Being selected to present a featured concert at the 20th WASBE International Conference in South Korea is a crowning achievement for our band program in our 98-year history,” said CWU Director of Bands Dr. T. André Feagin. “The Wind Ensemble is comprised of some of the finest brass, percussion, pianist, string, and woodwind performers within the department of music, as selected through a competitive audition.”

WASBE is the only international organization of wind band conductors, composers, performers, publishers, teachers, instrument makers and friends of wind music. Feagin explained that is the only organization completely dedicated to enhancing the quality of the wind band throughout the world and exposing its members to new worlds of repertoire, musical culture, people, and places.

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