Peter Vaughan 1923-2016

It was with great sadness that I today learned of the death of the British actor Peter Vaughan.

He had a varied and distinguished career, but I will always remember him best as "Genial" Harry Grout in the classic 1970s television sitcom Porridge, which was set in a prison.

In Porridge the Harry Grout character was the prison's "Mr. Big", who appeared to control most things which occurred in the institution, and who inspired fear and apprehension in his fellow inmates as well as the staff.

The character only appeared in three episodes of the show, as well as the 1979 movie spin-off, but the impact of Vaughan's portrayal, and the superb writing of Dick Clement and Ian La Frenais, made it seem like he was a permanent fixture.  Vaughan managed to convey an effortless but almost avuncular menace, and his scenes with Norman Stanley Fletcher (played by Ronnie Barker) were particularly memorable and amusing.

Interestingly, Peter Vaughan also appeared in an excellent episode (entitled "Stay Lucky Eh?") of the groundbreaking crime show The Sweeney, playing a character not totally dissimilar to Harry Grout, with the difference that he was "on the outside".

However, the Harry Grout character remains as one of the most enduring and fascinating in British sitcoms, and as an illustration of Peter Vaughan's talents.

The Italian Job (1969 movie)

I have always had a mild aversion to the misty-eyed nostalgia which surrounds this movie, the original 1969 version starring Michael Caine. English people are "expected" to embrace it as a luminous symbol of everything that was "great" about the Swinging Sixties. I have never quite bought into the hype, in a similar way that I harbour a blind spot about the music of certain pop/rock groups who are meant to embody the same spirit. I have tended to regard such artefacts as nebulous and lacking in genuine incisiveness. Anyway, I recently dug out the DVD and watched the picture again, to determine whether my reservations had been misplaced.

To summarize, the story revolves around a gold robbery in Turin planned by a gang from England. The first thing which one notices in viewing "The Italian Job" is the opulence of the visuals, the scenery and the clothing, hairstyles, cars, settings and so forth. At the same time, there is an abundance of Sixties clichés, musically, visually and otherwise.

 

Another thing which is worth remembering is that this movie was released in 1969, and it is tempting to ask whether the stylings and approach were out of date by then, especially when set against the deeper and less frivolous work which other people were producing at that time.

 

Michael Caine is likeable and confidence-inspiring as always, and the supporting cast is also admirable, including fine British comedy actors such as John Le Mesurier and Irene Handl in "cameos".

 

In its earlier stages, the film is very fast-moving, with numerous short and snappy scenes documenting the preparatory stages. The plot has more substance and depth to it than I had remembered, even if the dialogue is occasionally implausible. Did the Noel Coward character inspire the creation of "Genial Harry Grout", from the later BBC sitcom Porridge, or is this a long-established plot device in any crime-orientated film or book?

 

I made reference before to the Sixties clichés, and to the notion that the film might have been somehow "dated" by the time of its release. However, upon closer inspection, it becomes evident that darker, more insidious imagery also plays a role here, that more typical of films from the late Sixties and early Seventies. The funeral/graveyard scene is one example. This all helps to make the film more "1969" than some popular myth might suggest. It is not all Swinging London euphoria -  there are unmistakable hints of the more cynical and uncertain times ahead.

 

Of course, "The Italian Job" is best remembered for the sequences in the city of Turin, and for the later scenes involving the Mini Coopers and the coach. These scenes, and the stunts therein, are brilliantly executed, although they occasionally look very "choreographed". These, and the scenes surrounding the heist itself, must have been a very intricate logistical undertaking, and it must be emphasized that, in "technical" areas such as these, the movie is excellent.

 

This film is often described as a "caper", which I take to mean that it is not intended as pure comedy, but not intended as deep drama either. There are definitely humorous and even semi-satirical elements to it, but also more cerebral and serious touches, and these all conspire to give it an endearingly enigmatic and ambiguous character.

 

This correspondent has eaten some humble pie since this most recent viewing of "The Italian Job", but I still find myself unable to become truly immersed in the picture. For reasons which are difficult to explain, it just doesn't engage me emotionally or intellectually, even allowing for the fact that it is not meant to be taken too seriously. It is still great entertainment, though, and the "cliffhanger" ending was a real masterstroke....

 

 

 

 

 

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...

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.

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"!