Like Steve Coogan's previous live video, Live 'n' Lewd, The Man Who Thinks He's It shies away from Coogan's earlier impression-based stand-up, and instead showcases a number of comic characters: smutty shop girl Pauline Calf; nervous comedian Duncan Thickett; Portuguese pop sensation Tony Ferrino; unemployable drunkard Paul Calf; blunt, oblivious chat show host Alan Partridge; and the self-absorbed comedian Steve Coogan.
At the beginning of The Man, in one of its many faux-interviews with Steve Coogan in pretentious actor mode, Coogan vows that this show will be "different from all those other live videos." This promise is somewhat upheld, but at a loss for the viewers at home.
Coogan the Actor
By 1998, Coogan's The Man characters were all fairly well-established, having had their own series, shorts, or at least previous video appearances. For Alan Partridge, this meant having a well-known catchphrase and the expectation that he would get down to some chat, but for the other characters as well, a formula seemed to have developed for their stage performances. Pauline Calf, as she did in Live 'n' Lewd, crassly discusses her wanton lifestyle, and then reads an excerpt from her newest book. Duncan Thickett botches his attempts at the latest fads in comedy (including some meta "character comedy"). Tony Ferrino deplores matrimony, and then sings some songs winking at infidelity. Paul Calf drunkenly mumbles about unemployment and females. Alan Partridge has a chat and then sings a "medley" from a female vocalist's oeuvre (this time Kate Bush). This is quite a variety of very different performances, but for anyone familiar with Coogan's work, it's no surprise. A first-time viewer might giggle at the fact that crude Pauline Calf has written a book; a Coogan aficionado is just waiting to hear the name of her newest Mary-Sue character. Someone unfamiliar with Thickett might cackle at the fact that someone so out-of-touch is even attempting to do observational comedy; the well-versed viewer just wants to see what embarrassing bit of personal information he will give away in his attempts to relate with the audience. The characters themselves – much like Tony Ferrino's song selection – have become variations on a theme. Who will Paul Calf insult? Who will Alan Partridge awkwardly interview? These are humorous routines, but for a Coogan enthusiast, they are comfortable comedy, as comfy and familiar as sports casual clothing; nothing new or exciting here.
In order to fulfill that above-mentioned promise to be unlike other live shows, The Man Who Thinks He's It features many cut-aways to "Steve the Comedian," as well as bits with his fellow performers Julia Davis and Simon Pegg. The inclusion of co-performers is a key change from Live 'n' Lewd, and The Man depends heavily on them for its laughs. Julia Davis plays Pauline Calf's homely best friend, Tony Ferrino's soon-to-be-late wife, a feminist singer Paul Calf mistakenly invites to play a song, Alan Partridge's depressed, bulimic guest, and herself. Though Julia Davis is always a funny presence, rather than refresh Coogan's characters with some on-stage banter, her roles seem to just interrupt the sketches, and then drag them on without many actual jokes written for this interaction. With Paul Calf, Julia Davis performs a quintessential man-hating tune, and Paul just lazily dances around in the background. With these other characters to rely on, the center of the show – Coogan's creations – seem underwritten. The aforementioned same-old formula is used with a new friend in lieu of new jokes.
In their interview interstitials, Davis and Pegg paint a portrait of Coogan as a very self-obsessed, but desperate man. In one moment, overhearing Simon receiving big laughs while emceeing, Steve asks Simon not to tell that joke next time. This is a humorous poke at the egotism that comes with success, but it is also the only time we get to see Pegg in his emceeing role, unlike John Thomson as Bernard Righton in Live 'n' Lewd. With these frequent cutaways to documentary segments, once even interrupting Tony Ferrino mid-song, The Man Who Thinks He's It definitely does not feel like any other live show: it doesn't feel like a live show at all. The lampooning of the Comic Steve Coogan has become one of Coogan's funniest devices (in The Trip, Cock & Bull, Coffee & Cigarettes, etc.), but here, it's used almost too much. Like the addition of co-performers, the frequency of these documentary interstitials stops seeming refreshing and new, and starts to feel like a crutch to distract from an otherwise lackluster bill of performances.
In The Man Who Thinks He's It, Coogan is of course funny, but his characters (including "Steve Coogan" himself) have all had more hilarious, fresh, and enthusiastic performances. The Man showcases consistent, comfortable comedy, but you'll find nothing brilliant here.
Showing posts with label pauline calf. Show all posts
Showing posts with label pauline calf. Show all posts
17 June 2011
STEVE COOGAN: LIVE 'N' LEWD (1994) - Still Holds Up
In this 1994 live special, Coogan plays four of his characters (some less well-known than others): openly-polysexual townie Pauline Calf, nervous stand-up comedian Duncan Thickett, no-nonsense health and safety lecturer Ernest Moss, and the eternally-intoxicated wastrel Paul Calf.
Paul Calf's ratings certification at the beginning of the video.
A lot of the humour in these characters comes from knowing that in real life, Steve Coogan is a charming, handsome, funny man, yet he's dedicated himself to playing such unappealing roles. (Steve Coogan the Comedian is poked at with little "documentary" interstitials that bookend the show and fill the intermission.) Though all inherently depressing, there is a delicious variety to Coogan's comic creations, and whatever they lack in funny, they make up for in pure enthusiasm. With Pauline Calf, even if her slaggy "I've done him" mantra gets a bit trite, one cannot help but marvel at how convincing a woman Coogan makes — he's not pantomiming in drag; he's really transformed himself into a character who happens to be a lady. With awkward stand-up comedian Duncan Thickett, Coogan has perfected the "anti-performance": Thickett jumps about anxiously and constantly moves his hands, trying to compensate for his nervousness with an overzealous performance; he is a stage character totally not at ease with being on stage. Many of Thickett's laughs come from this Coogan / character juxtaposition: we know (even just from the Pauline Calf routine) that Coogan is a master of voices and jokes, yet Thickett is a terrible comedian, and a terrible impressionist. Occasionally Coogan allows Thickett an accurate impersonation, hilarious in that Duncan seems less realistic than his Neil Kinnock imitation. If ever a slow spot in these sketches, there's always comedy in trying to see Steve Coogan underneath his Ernest Moss glasses or Paul Calf haircut, yet the material itself is consistently hilarious.
The characters are each introduced by John Thomson as Bernard Righton, a surprisingly entertaining (yet staunchly politically correct) emcee. The video also contains the aforementioned "documentary" bits with Coogan as Coogan, as well as faux-interviews with audience and critics (Coogan and Thomson), and some pseudo-pedantic narration by Coogan as Terry Wogan. These interstitials make the video (which lacks but needs no narrative) feel interconnected and whole, like one linked comedy piece instead of the mishmash of disparate characters that it easily could have been.
For an early venture in Coogan's career, Live 'n' Lewd holds up very well, unlike Coogan's earliest, impression-based stand-up, which can now really only be viewed as the raw, cringe-worthy beginnings from which his later work ascended. Yes, his characters still invite comparison with Coogan the comic (then and now), but that was intentional at the time; someone with no external knowledge is provided a Coogan persona with which to juxtapose his roles. For an early piece with jokes that sometimes falter, that sort of self-awareness/-containment really gives a timeless quality to the video. Even if Steve Coogan had never gone on to do anything else, Live 'n' Lewd would still be a stand-up special worth watching.
Paul Calf's ratings certification at the beginning of the video.
A lot of the humour in these characters comes from knowing that in real life, Steve Coogan is a charming, handsome, funny man, yet he's dedicated himself to playing such unappealing roles. (Steve Coogan the Comedian is poked at with little "documentary" interstitials that bookend the show and fill the intermission.) Though all inherently depressing, there is a delicious variety to Coogan's comic creations, and whatever they lack in funny, they make up for in pure enthusiasm. With Pauline Calf, even if her slaggy "I've done him" mantra gets a bit trite, one cannot help but marvel at how convincing a woman Coogan makes — he's not pantomiming in drag; he's really transformed himself into a character who happens to be a lady. With awkward stand-up comedian Duncan Thickett, Coogan has perfected the "anti-performance": Thickett jumps about anxiously and constantly moves his hands, trying to compensate for his nervousness with an overzealous performance; he is a stage character totally not at ease with being on stage. Many of Thickett's laughs come from this Coogan / character juxtaposition: we know (even just from the Pauline Calf routine) that Coogan is a master of voices and jokes, yet Thickett is a terrible comedian, and a terrible impressionist. Occasionally Coogan allows Thickett an accurate impersonation, hilarious in that Duncan seems less realistic than his Neil Kinnock imitation. If ever a slow spot in these sketches, there's always comedy in trying to see Steve Coogan underneath his Ernest Moss glasses or Paul Calf haircut, yet the material itself is consistently hilarious.
The characters are each introduced by John Thomson as Bernard Righton, a surprisingly entertaining (yet staunchly politically correct) emcee. The video also contains the aforementioned "documentary" bits with Coogan as Coogan, as well as faux-interviews with audience and critics (Coogan and Thomson), and some pseudo-pedantic narration by Coogan as Terry Wogan. These interstitials make the video (which lacks but needs no narrative) feel interconnected and whole, like one linked comedy piece instead of the mishmash of disparate characters that it easily could have been.
For an early venture in Coogan's career, Live 'n' Lewd holds up very well, unlike Coogan's earliest, impression-based stand-up, which can now really only be viewed as the raw, cringe-worthy beginnings from which his later work ascended. Yes, his characters still invite comparison with Coogan the comic (then and now), but that was intentional at the time; someone with no external knowledge is provided a Coogan persona with which to juxtapose his roles. For an early piece with jokes that sometimes falter, that sort of self-awareness/-containment really gives a timeless quality to the video. Even if Steve Coogan had never gone on to do anything else, Live 'n' Lewd would still be a stand-up special worth watching.
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