Alan
Partridge could be described as the Ted Baxter of North Norfolk, except he is
more self-centered and less self-aware.
The alter-ego of comedian Steve Coogan is wildly popular in the UK, but more
of a cult thing here in America. Regardless, cinema obviously represented the
next logical step for the name brand franchise established through radio, TV,
books, and webisodes. North Norfolk’s smarmiest broadcaster finally gets the
attention he craves with Declan Lowney’s Alan
Partridge (a.k.a.
Alan Partridge: Alpha Papa, trailer
here), which
screens during the 51st New York Film Festival.
As
fans know all too well, Partridge currently hosts Mid-Morning Matters on North Norfolk Digital with Sidekick Simon.
Initially, the shallow blowhard thinks little of it when a Clear Channel-like
conglomerate acquires the station, rebranding it the “SHAPE.” However, when Partridge
agrees to speak to the new management on behalf of his nervous colleague, Pat
Farrell, he learns either he or his supposed friend will face the corporate
axe. Of course, Partridge unsubtly stabs
Farrell in the back.
The
pink-slipped Farrell takes the news rather badly, returning to the station with
a shotgun for a spot of hostage taking. Assuming the best of his two-faced pal,
Farrell demands Partridge act as the go-the-between as a police stand-off
ensues. Finding himself in the media spotlight, Partridge is determined to
capitalize on this career opportunity, but as always, he fumbles and bumbles at
every step.
If
you like Partridge, the Partridge film delivers plenty, but the laugh lines are
pretty much exclusively reserved for Coogan’s signature Character. It is often very
funny, but it very definitely stays within the Partridge Zone. After all, satisfying the existing fan-base is
the most pressing objective for any TV franchise crossing over to the big
screen, which should certainly be the case here. Fear not, Partridge never
develops a conscience or any sense of decorum.
Co-written
by Coogan and his frequent collaborator Armando Iannucci, with Neil Gibbons,
Rob Gibbons, and Peter Baynham, the film raises the stakes from previous
Partridge outings, what with the hostage crisis and all, while staying true to
its roots. Naturally identified as
conservative in past incarnations (because that is so conducive to success with
the BBC), the big-screen Partridge wisely eschews politicized humor in favor of
broad physical comedy and the comeuppance of public humiliation.
