In the 1970s and early 1980s there were lots of cinematic spin-offs from British television sitcoms, and the artistic quality of these projects was variable to say the least. One of the better of these spin-offs was "The Likely Lads" from 1976, starring Rodney Bewes as Bob Ferris and James Bolam as Terry Collier.
The original "Likely Lads" TV series from the 1960s followed the fortunes of Bob and Terry as young men, and the follow-up "Whatever Happened To The Likely Lads" picked up the story when they had reached the brink of their thirties, at the time of Terry's return from a stint in the Army.
This film appears to be set a couple of years after the end of the timescale of "Whatever Happened To The Likely Lads", with Bob going through some kind of emotional, existential crisis. Indeed, the central themes of the movie are "there must be more to life than this" and "where has the past gone?", universally understood sentiments which engage the viewer. Times change, but our own routine becomes and remains tedious, and we ask whether the grass is greener elsewhere.
Even more so than the second television series, this film screams "Seventies!", from the fashions, to the backdrops, to the cultural references and the social mores. Added to this are Bob's Vauxhall Chevette, the boutique and the predilection for caravanning!
As ever, the writing of Dick Clement and Ian La Frenais drives proceedings charmingly. The storyline is a good, solid one, with a nicely conceived ending which inverts the conclusion of the original 60s series. The writers specialized in extracting great comedy from mundane, everyday things, and the eccentricities of the tenets of English life. The script of this film, to me, celebrates nostalgia whilst at the same time hinting that there is no easy escape from the pressures of the present. The grass is not necessarily greener, and we sometimes envy the lifestyles of our peers whilst overlooking the pitfalls of those lifestyles and the virtues of our own hard-won stability and security...
One thing which does not feature that prominently in this movie is the tension between Bob and Terry's relative social aspirations, an angle which dominated parts of the 1970s TV series. The emphasis here is on more elusive emotional and spiritual concerns. That said, the characterizations are still endearing and natural.
Rodney Bewes does a fine job in this film of portraying the angst-ridden and preoccupied Bob. The character has moved on from the "upwardly mobile" persona which he exuded during the second TV show. His life has reached a disconcerting and bewildering plateau.
The settings are different from "Whatever Happened To...", but I see this as a strength, as it helps to endow the movie with an identity of its own. The pleasant location shots of the North East England countryside and coastline also contribute to an overall visual appeal, and the "Whitley Bay" sequences are truly evocative!
There are some fine individual scenes, most notably the first one in the boutique, which kick-starts the central portion of the movie. As ever, the most effective comedic exchanges between Bob and Terry are tinged with poignancy and sadness, such as the conversation on the ship near the end.
To my present-day self, the overall effect of this picture is to induce sorrow and regret at a period gone forever, when life was simpler, or so we like to believe. It was released during my childhood, and the imagery brings back fond memories. This kind of nostalgia leavens the sterility and uncertainty of the present.
Opinion of this film among critics has been mixed, but I really like it. It has charm as a period piece, quite apart from the richness of the writing, the humour and the acting. Fine entertainment, and rather heart-warming...
Showing posts with label dick clement. Show all posts
Showing posts with label dick clement. Show all posts
Saturday, 12 December 2015
Thursday, 6 September 2012
Going Straight
Spin-offs or sequels to celebrated situation comedies have a chequered history, to put it mildly. However, one which merits some attention and praise is Going Straight, which followed on from the immense Porridge.
The basic premise of Going Straight was the struggle of Norman Stanley Fletcher, played by Ronnie Barker, to re-adjust and reintegrate into society following his release from Slade Prison. However, to me the series, brief though its tenure was, was so much more than that. Direct comparisons with its illustrious predecessor were also unfair, for several reasons.
The "situation" was one of the prime factors which made Porridge such an endearing and effectual situation comedy. This element is not as pervasive or concentrated in Going Straight, the arena being the big, bad outside world, and not the confines of a prison. This would inevitably mean that the follow-up would seem more disparate by comparison. It does have pronounced virtues and hallmarks of its own, though.
The tone is markedly less outwardly comedic, and more dark, than Porridge, with much more in the way of poignancy and pathos. I will admit that Going Straight is not always a comfortable watch, because of the predicament in which Norman Stanley Fletcher finds himself, and the vulnerability which this evokes. The certainties of incarcertation have been stripped away, and he is at the mercy of the more varied and unpredictable vagaries of wider society. The priority in prison was short-term bucking of the system, whereas on the outside one perhaps has to accept that the oppressive forces are too diffuse and powerful.
One of the great strengths of the series is its subject matter, which transcends time, and never grows stale. Temptation, honour, dignity, perseverance, resolve, integrity and resilience are all tested and scrutinised. Despite the 1970s cultural references which abound in Going Straight, the themes raised are still startlingly relevent today.
The subject matter is, of course, expertly collated and deployed by the peerless writing team of Dick Clement and Ian La Frenais. Their scripts for Going Straight were sharp and fresh, and possessed their uniquely appealing combination of warmth, incisiveness and empathy.
Of course, one of the departures of Going Straight was its wider diversity of major characters. In this respect, the performance of Patricia Brake as Fletch's daughter Ingrid was particularly impressive, if under-rated. Torn between love and sympathy for her father, concern for the welfare of her wider family, and a sense of right and wrong.
To varying degrees, the six episodes chronicle the never-ending struggles of life, the ongoing battle to balance expediency with morality and integrity. By and large the righteous honest course wins out, if only just. This ensures that some hope does at least emerge from the somewhat gloomy tenor.
We are left with a keen sense of the underlying decency of most ordinary people, trying constantly to "do the right thing", often when confronted by insurmountable odds.
One of the most intriguing sub-plots is the apparent role reversal involving Fletch and his erstwhile cellmate Lennie Godber, played by Richard Beckinsale. In prison, Fletch was the mentor, but Godber, with the advantage of youth, finds it much easier to adapt to "civilian" life. The world has moved on, and Fletch feels left behind. In striving to overcome these obstacles, he feels tempted to resort to skullduggery in order to put himself on a more solid footing. The old chestnut about "ends" and "means" rears its head. This time it is Godber, and other younger characters, who are dispensing the guidance and advice.
During the series, optimism and promise flicker fitfully for Fletch, as he searches for inspiration and direction. He tries his best, but faces cynicism from others, some of which is born of a lack of understanding. At least the series ended on a positive note, as he curtails involvement in a criminal enterprise in order to be at Ingrid and Lennie's wedding.
In portraying the changing role and fortunes of Fletcher, Ronnie Barker displayed his real versatility and mastery of characterisation.
When engineering the "set-piece" scenarios in the series, plausibility was stretched at times, with several coincidences, and old acquaintances of Fletch coming out of the woodwork in a relatively brief timescale. However, to me this never felt really contrived, and the quality of the writing and acting always tended to win out and prevail.
Of course, further series of Going Straight were precluded by the tragic death of Richard Beckinsale in 1979. It is intriguing to extrapolate things, and imagine how the story could have panned out. Fletch's efforts and challenges, and brushes with temptation, would doubtless have continued. Perhaps Godber's own situation might have altered, and the "balance of power" between himself and Fletch shifted once more?
Whatever, the speculation, my view remains that Going Straight is worthy of inclusion in a list of great British sitcoms of its era. If anything, it gets better with the passing of time...
The basic premise of Going Straight was the struggle of Norman Stanley Fletcher, played by Ronnie Barker, to re-adjust and reintegrate into society following his release from Slade Prison. However, to me the series, brief though its tenure was, was so much more than that. Direct comparisons with its illustrious predecessor were also unfair, for several reasons.
The "situation" was one of the prime factors which made Porridge such an endearing and effectual situation comedy. This element is not as pervasive or concentrated in Going Straight, the arena being the big, bad outside world, and not the confines of a prison. This would inevitably mean that the follow-up would seem more disparate by comparison. It does have pronounced virtues and hallmarks of its own, though.
The tone is markedly less outwardly comedic, and more dark, than Porridge, with much more in the way of poignancy and pathos. I will admit that Going Straight is not always a comfortable watch, because of the predicament in which Norman Stanley Fletcher finds himself, and the vulnerability which this evokes. The certainties of incarcertation have been stripped away, and he is at the mercy of the more varied and unpredictable vagaries of wider society. The priority in prison was short-term bucking of the system, whereas on the outside one perhaps has to accept that the oppressive forces are too diffuse and powerful.
One of the great strengths of the series is its subject matter, which transcends time, and never grows stale. Temptation, honour, dignity, perseverance, resolve, integrity and resilience are all tested and scrutinised. Despite the 1970s cultural references which abound in Going Straight, the themes raised are still startlingly relevent today.
The subject matter is, of course, expertly collated and deployed by the peerless writing team of Dick Clement and Ian La Frenais. Their scripts for Going Straight were sharp and fresh, and possessed their uniquely appealing combination of warmth, incisiveness and empathy.
Of course, one of the departures of Going Straight was its wider diversity of major characters. In this respect, the performance of Patricia Brake as Fletch's daughter Ingrid was particularly impressive, if under-rated. Torn between love and sympathy for her father, concern for the welfare of her wider family, and a sense of right and wrong.
To varying degrees, the six episodes chronicle the never-ending struggles of life, the ongoing battle to balance expediency with morality and integrity. By and large the righteous honest course wins out, if only just. This ensures that some hope does at least emerge from the somewhat gloomy tenor.
We are left with a keen sense of the underlying decency of most ordinary people, trying constantly to "do the right thing", often when confronted by insurmountable odds.
One of the most intriguing sub-plots is the apparent role reversal involving Fletch and his erstwhile cellmate Lennie Godber, played by Richard Beckinsale. In prison, Fletch was the mentor, but Godber, with the advantage of youth, finds it much easier to adapt to "civilian" life. The world has moved on, and Fletch feels left behind. In striving to overcome these obstacles, he feels tempted to resort to skullduggery in order to put himself on a more solid footing. The old chestnut about "ends" and "means" rears its head. This time it is Godber, and other younger characters, who are dispensing the guidance and advice.
During the series, optimism and promise flicker fitfully for Fletch, as he searches for inspiration and direction. He tries his best, but faces cynicism from others, some of which is born of a lack of understanding. At least the series ended on a positive note, as he curtails involvement in a criminal enterprise in order to be at Ingrid and Lennie's wedding.
In portraying the changing role and fortunes of Fletcher, Ronnie Barker displayed his real versatility and mastery of characterisation.
When engineering the "set-piece" scenarios in the series, plausibility was stretched at times, with several coincidences, and old acquaintances of Fletch coming out of the woodwork in a relatively brief timescale. However, to me this never felt really contrived, and the quality of the writing and acting always tended to win out and prevail.
Of course, further series of Going Straight were precluded by the tragic death of Richard Beckinsale in 1979. It is intriguing to extrapolate things, and imagine how the story could have panned out. Fletch's efforts and challenges, and brushes with temptation, would doubtless have continued. Perhaps Godber's own situation might have altered, and the "balance of power" between himself and Fletch shifted once more?
Whatever, the speculation, my view remains that Going Straight is worthy of inclusion in a list of great British sitcoms of its era. If anything, it gets better with the passing of time...
Saturday, 28 January 2012
Porridge (movie)
It has to be said that the success rate of classic British sitcoms being turned into feature films is variable. Many fail to recapture the magic of the television series, and those who were devotees of the series are able quickly to discern essential differences and departures in terms of characters, backdrop and atmosphere. This makes it awkward to objectively judge the film, and purely on its own merits.
One which is not totally flawless, but succeeds better than most, is the cinematic spin-off of Porridge, the acclaimed prison-based British sitcom of the 1970s. I watched this earlier today, and I made a few observations.
Although made after the television show had come to an end, Porridge manages to appear as a "composite" of the series as a whole, with respect to characters, sub-plots and themes. It is reasonably plausible to imagine the story being played out within the context of the overall Porridge saga.
Some of the jokes and lines of dialogue are clearly re-cycled or adapted from the scripts for the television programme, but this will only be noticed by devotees of the BBC classic, and will not perturb or irritate the casual viewer at all. In fairness, there are some fresh and amusing one-liners and gags throughout, even if they feel slightly more stilted on celluloid than perhaps they would have done on TV.
More freshness and interest is provided by the characters unique to this movie, including the prospective escapee Oakes, the surly new inmate Rudge, and the self-satisfied warder Mr Beal. These additions help further to reinforce the notion that this film is a credible entity in its own right, rather than simply a straightforward continuation and extension of the TV series. There is a different governor, but he is just as hapless and toothless as the one in the original sitcom!
The longer film format allows certain sub-plots to be played out, including the introduction of the rather pathetic looking "officer's club", and the delights of Slade Prison cuisine.
Of course, much of the central appeal of Porridge stems from the interaction between Fletcher, Godber, Mackay and Barrowclough. The introduction of, and involvement of, more characters in the movie possibly dilutes this, and the inclusion of more scenes outside the prison buildings removes some of the intimacy which was such a compelling feature of the series.
Overall though, these are fairly minor criticisms. The central plot, of a celebrity football match being employed as cover for an escape attempt, is original, and also of course offers lots of comedic possibilities. The acting by Ronnie Barker, Fulton Mackay and others is exemplary, and the writing of Dick Clement and Ian La Frenais always has an infectious and endearing quality about it.
This movie does not quite possess the grit and unique charm of the television version, but judged as a work on its own it is entertaining and well produced.
One which is not totally flawless, but succeeds better than most, is the cinematic spin-off of Porridge, the acclaimed prison-based British sitcom of the 1970s. I watched this earlier today, and I made a few observations.
Although made after the television show had come to an end, Porridge manages to appear as a "composite" of the series as a whole, with respect to characters, sub-plots and themes. It is reasonably plausible to imagine the story being played out within the context of the overall Porridge saga.
Some of the jokes and lines of dialogue are clearly re-cycled or adapted from the scripts for the television programme, but this will only be noticed by devotees of the BBC classic, and will not perturb or irritate the casual viewer at all. In fairness, there are some fresh and amusing one-liners and gags throughout, even if they feel slightly more stilted on celluloid than perhaps they would have done on TV.
More freshness and interest is provided by the characters unique to this movie, including the prospective escapee Oakes, the surly new inmate Rudge, and the self-satisfied warder Mr Beal. These additions help further to reinforce the notion that this film is a credible entity in its own right, rather than simply a straightforward continuation and extension of the TV series. There is a different governor, but he is just as hapless and toothless as the one in the original sitcom!
The longer film format allows certain sub-plots to be played out, including the introduction of the rather pathetic looking "officer's club", and the delights of Slade Prison cuisine.
Of course, much of the central appeal of Porridge stems from the interaction between Fletcher, Godber, Mackay and Barrowclough. The introduction of, and involvement of, more characters in the movie possibly dilutes this, and the inclusion of more scenes outside the prison buildings removes some of the intimacy which was such a compelling feature of the series.
Overall though, these are fairly minor criticisms. The central plot, of a celebrity football match being employed as cover for an escape attempt, is original, and also of course offers lots of comedic possibilities. The acting by Ronnie Barker, Fulton Mackay and others is exemplary, and the writing of Dick Clement and Ian La Frenais always has an infectious and endearing quality about it.
This movie does not quite possess the grit and unique charm of the television version, but judged as a work on its own it is entertaining and well produced.
Tuesday, 19 April 2011
Sitcoms of the 1970s - My Selections
When I was a child in the 1970s, situation comedies were going through their golden age, although I appreciated this little at the time. Revisiting these shows in adult life has equipped me with an enhanced grasp of their qualities and subject matter.
One of the earliest sitcoms which I can recall watching is "Whatever Happened To The Likely Lads", the sequel to the fondly remembered "The Likely Lads" from the 1960s.
The main thrust of the story was Terry Collier's return from five years in the Army, and the chasm which had developed between his situation and that of his best friend Bob Ferris. This allowed the writers, Dick Clement and Ian La Frenais, to examine issues of social climbing, work/life balance and the limits of friendship. As these themes tend to be timeless, and relevant to the majority of people, "Whatever Happened To The Likely Lads" holds up better in the 21st century than most other sitcoms of its time.
There was always a hard to pin-down homely feel about the show, possibly arising from it being set in the North East of England. The interaction between Bob, Terry and Bob's wife Thelma offered a range of possibilities, and these were ably exploited by the peerless writing team of Clement and La Frenais.
After "Whatever Happened to......", Clement and La Frenais came up with another, albeit very different, masterpiece. "Porridge" was set in Slade Prison, and followed the trials and tribulations of Norman Stanley Fletcher and his fellow inmates.
To the layman it might have seemed an onerous task to extract credible humour from prison life, but the writers accomplished this admirably, whilst also touching on sensitive issues in a mature manner.
As with any great comedy, characters and casting were vital. That "Porridge" succeeded in these respects can be seen from the pivotal theme of the show;the ongoing battle of wits between the street-wise Londoner Fletch and the stern and disciplinarian chief warder Mr Mackay.
Perhaps the most lingering memory of "Porridge" is the astounding peformance of Ronnie Barker as Fletch. A believable character, and not based on any stereotypes, Fletch engages in a campaign to win "little victories", to buck the system, and to maintain his own sanity whilst others are losing theirs.
The two main supporting characters offer intriguing contrasts of viewpoint and personality to Fletch and Mackay. Lennie Godber is Fletcher's young and naive cellmate, and Barraclough is the liberal, malleable warder who is constantly manipulated by Fletch and his cohorts as a means of achieving those "little victories".
The more minor characters such as Lukewarm, McLaren, Warren and Genial Harry Grout all add to the rich tapestry which makes "Porridge" an undisputed classic.
Another more esoteric, but equally praiseworthy sitcom came along later in the 1970s - The Fall and Rise of Reginald Perrin, starring Leonard Rossiter.
This particular show is regularly overlooked in the pantheon, probably because it is less immediately accessible than the others. However, if one persists, it is perhaps the most rewarding of all.
The themes covered, such as the drudgery of 9 to 5 existence, and the allure of alternative living, were part of the 1970s Zeitgeist, and are still very relevant today.
The increasing neurosis and despair of Reginald Perrin, and the emptiness of his existence, are wonderfully conveyed by the performance of Rossiter, who displays his comic talent and versatility to its fullest extent here.
There is no sugar-coated ending, and matters are left somewhat inconclusive and confused, perhaps intentionally, in keeping with the central message of the futility of aspects of modern life.
The programme has some fascinating supporting characters, such as Perrin's boss and nemesis CJ, and his brother-in-law Jimmy, ably portrayed by Geoffrey Palmer.
It is probably necessary to watch "The Fall and Rise of Reginald Perrin" in its entirety, as individual episodes might not make total sense on their own. However, as a whole this is a fascinating and intriguing series. A gem.
Notwithstanding the endearing and esoteric virtues of the shows detailed above, probably the most popular British sitcom when I was a child was "Some Mothers Do 'Ave Em" written by Raymond Allen.
Michael Crawford plays the accident-prone and insecure Frank Spencer, and Michele Dotrice his long-suffering wife Betty.
"Some Mothers Do 'Ave Em" follows Frank's efforts to make something of his life, and Betty's battles to endure the traumas, whilst keeping her husbands's spirits up. Crawford's natural comic talent, and his willingness to engage in bizarre stunts, are a constant driving force.
Many lists of "classic sitcoms" conveniently ignore this show, perhaps because it is not perceived as "cool". It did not possess the gritty scenarios or incisive writing of others of the genre, but it succeeds because it is basically funny and entertaining, and because of the pathos of the Frank Spencer character.
Here's hoping for a rehabilitation of "Some Mothers Do 'Ave Em"!
One of the earliest sitcoms which I can recall watching is "Whatever Happened To The Likely Lads", the sequel to the fondly remembered "The Likely Lads" from the 1960s.
The main thrust of the story was Terry Collier's return from five years in the Army, and the chasm which had developed between his situation and that of his best friend Bob Ferris. This allowed the writers, Dick Clement and Ian La Frenais, to examine issues of social climbing, work/life balance and the limits of friendship. As these themes tend to be timeless, and relevant to the majority of people, "Whatever Happened To The Likely Lads" holds up better in the 21st century than most other sitcoms of its time.
There was always a hard to pin-down homely feel about the show, possibly arising from it being set in the North East of England. The interaction between Bob, Terry and Bob's wife Thelma offered a range of possibilities, and these were ably exploited by the peerless writing team of Clement and La Frenais.
After "Whatever Happened to......", Clement and La Frenais came up with another, albeit very different, masterpiece. "Porridge" was set in Slade Prison, and followed the trials and tribulations of Norman Stanley Fletcher and his fellow inmates.
To the layman it might have seemed an onerous task to extract credible humour from prison life, but the writers accomplished this admirably, whilst also touching on sensitive issues in a mature manner.
As with any great comedy, characters and casting were vital. That "Porridge" succeeded in these respects can be seen from the pivotal theme of the show;the ongoing battle of wits between the street-wise Londoner Fletch and the stern and disciplinarian chief warder Mr Mackay.
Perhaps the most lingering memory of "Porridge" is the astounding peformance of Ronnie Barker as Fletch. A believable character, and not based on any stereotypes, Fletch engages in a campaign to win "little victories", to buck the system, and to maintain his own sanity whilst others are losing theirs.
The two main supporting characters offer intriguing contrasts of viewpoint and personality to Fletch and Mackay. Lennie Godber is Fletcher's young and naive cellmate, and Barraclough is the liberal, malleable warder who is constantly manipulated by Fletch and his cohorts as a means of achieving those "little victories".
The more minor characters such as Lukewarm, McLaren, Warren and Genial Harry Grout all add to the rich tapestry which makes "Porridge" an undisputed classic.
Another more esoteric, but equally praiseworthy sitcom came along later in the 1970s - The Fall and Rise of Reginald Perrin, starring Leonard Rossiter.
This particular show is regularly overlooked in the pantheon, probably because it is less immediately accessible than the others. However, if one persists, it is perhaps the most rewarding of all.
The themes covered, such as the drudgery of 9 to 5 existence, and the allure of alternative living, were part of the 1970s Zeitgeist, and are still very relevant today.
The increasing neurosis and despair of Reginald Perrin, and the emptiness of his existence, are wonderfully conveyed by the performance of Rossiter, who displays his comic talent and versatility to its fullest extent here.
There is no sugar-coated ending, and matters are left somewhat inconclusive and confused, perhaps intentionally, in keeping with the central message of the futility of aspects of modern life.
The programme has some fascinating supporting characters, such as Perrin's boss and nemesis CJ, and his brother-in-law Jimmy, ably portrayed by Geoffrey Palmer.
It is probably necessary to watch "The Fall and Rise of Reginald Perrin" in its entirety, as individual episodes might not make total sense on their own. However, as a whole this is a fascinating and intriguing series. A gem.
Notwithstanding the endearing and esoteric virtues of the shows detailed above, probably the most popular British sitcom when I was a child was "Some Mothers Do 'Ave Em" written by Raymond Allen.
Michael Crawford plays the accident-prone and insecure Frank Spencer, and Michele Dotrice his long-suffering wife Betty.
"Some Mothers Do 'Ave Em" follows Frank's efforts to make something of his life, and Betty's battles to endure the traumas, whilst keeping her husbands's spirits up. Crawford's natural comic talent, and his willingness to engage in bizarre stunts, are a constant driving force.
Many lists of "classic sitcoms" conveniently ignore this show, perhaps because it is not perceived as "cool". It did not possess the gritty scenarios or incisive writing of others of the genre, but it succeeds because it is basically funny and entertaining, and because of the pathos of the Frank Spencer character.
Here's hoping for a rehabilitation of "Some Mothers Do 'Ave Em"!
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