The Measure of a Partridge
There is no doubt a very good reason why Steve Coogan, Armando Ianucci, Peter Baynham and their various colleagues have chosen this year to release an Alan Partridge movie, but for the life of me I can't quite make out what it is. It's not as though all their careers have been in the doldrums, and they're in need of a relatively safe bet to make some money – Coogan has led one film in the last twelve months and played major roles in a couple of others. Nor is it that public interest in and demand for more Alan is currently at a peak – it would have been a relatively easy prospect to secure funding for this project at any time in the last fifteen years, and I always got the impression that it was Coogan himself who was reluctant to spend too much time playing Norwich's famous son. Nevertheless, here it is – Alan Partridge: Alpha Papa (the subtitle is largely irrelevant), directed by Declan Lowney.
Everyone in the UK, surely, has some idea who Alan Partridge is, but I suspect he is much less celebrated in the wider world. Suffice to say that Partridge has bestridden the media landscape like a sports-casual-clad colossus for over two decades now, first rising to fame as a radio sports correspondent, then exhibiting a magisterial grasp of interviewing techniques in various branches of the BBC. Sadly, his chat show Knowing Me, Knowing You with Alan Partridge was cancelled in 1994 due to unacceptably low viewing figures (and the high mortality rate amongst the guests), since when the great man has retreated to become a legend in Norfolk-based local radio.
This is where we find him as the film opens. The station at which he works has just been bought by a large media company, who are intent on making changes – and when Alan discovers his name is on a list of potential sackees, he does the honourable thing and persuades them to get rid of fellow veteran DJ Pat Farrell (Colm Meaney) instead of him. Pat takes this news badly and proceeds to take everyone in the building hostage at gunpoint, insisting on being allowed to air his grievances over the airwaves. Furthermore, he refuses to speak directly to the police, accepting only one man as an intermediary and negotiator. And that man's name is Alan Partridge.
In some ways this is a slightly odd film: Colm Meaney gets his name above the title, presumably because he has some sort of profile in the US and this will help when it comes to marketing the film over there. I still can't imagine this will be an easy proposition as when all is said and done this is still yet another TV comedy spin-off movie, and a very, very British one. The humour is basically a mixture of slapstick farce and comedy of embarrassment – I can potentially see the former reaching an international audience, but not the latter.
This is not to say that the film is not funny, because it is – if you get the Alan Partridge character, anyway. Alan's mixture of political incorrectness, brazen self-absorption, bad taste and general social awkwardness is the same as it has ever been, but as ever there are moments of pathos that ensure he doesn't come across as a complete monster. The brilliance of the character is in the sheer precision and attention to detail with which he is written and performed, and this has not changed: one of the funniest sequences in the film is the opening credits, which simply show Alan singing along to the radio while driving to work. But it's still quite a subtle creation, and I'm not sure the big screen is Alan's natural home.
To repeat, though, this is a funny film that's worth the price of admission. Coogan is always, always worth watching, and here's he's supported by a very strong cast of British comedy stalwarts. Meaney is quietly rather impressive, inasmuch as he stops Coogan completely dominating all their scenes together, and long-term Partridge followers will appreciate appearances by several members of Alan's regular supporting cast off the telly.
Even so – I have laughed more, and been more engaged by, other comedy films recently. This is perhaps a little too low-key and parochial, compared to – for example – The World's End, and the siege plotline feels a bit underpowered. There are moments when the story doesn't quite hang together, too. Then again, I've always preferred the very early Alan Partridge radio and TV shows in terms of their basic comedy value, rather than the later more character-based stuff. Nevertheless, for me this doesn't quite do either Alan Partridge or Steve Coogan full justice. Still a decent, entertaining comedy though.