As a Yank who once lived in the U.K. and married a Brit, I really enjoy watching the British comedies. I find TTMB quaint, aged, and overtly "English". This is a series that actually pokes fun at the aristocratic, hyphenated namesakes who at times come across as snobbish. To me, it is the quintessential English comedy with deliberate exaggeration for comic effect, without taking itself too seriously. A mainstay for the rerun (repeats) circuit. It reminds me of the way in which Brits viewed the American series "Dallas" as a stereotypical view of life from across the pond. A much-beloved classic TV series for audiences on both sides of the Atlantic.
17 Reviews
Quirky and Refreshing English Comedy -- Sort of Marriage of Figaro meets Three's Company
classicalsteve27 June 2014
The setting is in a fictional English village, Grantleigh, residing inside the fictional town of Marlbury in Somerset, England. The locals in this quaint countryside are a bit quirky. In the first scene, Richard DeVere (Peter Bowles), a stranger to the town and among the "nouveau riche", meets the town Vicar at the local parish church to ask for directions and where he might meet Mr Forbes-Hamilton. To which the Vicar replies, that Mr Forbes-Hamilton "will be here at any moment now (but) I doubt you'll get much out of him." And then Mr DeVere sees some pall-bearers carrying a casket. From the get-go, this is the kind of irreverent yet refreshing humour which permeates the entire show.
Mr DeVere is looking for some real estate to buy in the area and learns that the manor house is owned by the late Mr Forbes-Hamilton and his opinionated and talkative wife, Audrey. Audrey Forbes-Hamilton (Penelope Keith) is a fast-talking aristocrat who would tell a perfect stranger he looks retched because he bought his clothes at the British-equivalent of Sears. Her family, the Forbes-Hamilton's, have lived in the manor house in the English countryside since the time of Queen Elizabeth I. After laying her husband to rest, she tells the vicar that it was a "lovely funeral, we must have another one sometime." Now she has to sell the manor because of debts. And who should buy the manor but Ricard DeVeer, the new stranger who is not only wealthy and non-aristocrat but was "dressed like a chessboard" according to Audrey at the funeral reception. He then makes an unexpected offer: Audrey may continue to reside at the manor if she wishes, and she accepts the offer, beginning one of the more entertaining sitcom's of its type. DeVeer and Mrs. Forbes-Hamilton become sort of reluctant bedfellows in a kind of clash of the classes, in this case old aristocracy versus bourgeoisie.
A delightful British comedy in which the many lines are simultaneously unexpected and yet fit each character's personality. Peter Bowles plays "straight-man" to the quirky characters of the town. But it's the sharp-tongued Penelope Keith as Audrey Forbes-Hamilton who steals the show. Keith is perfectly cast as Audrey whose biting rhetoric would give any politician significant cause to run and hide under a nearby bed. Not to be missed if you like British comedy of this sort.
Mr DeVere is looking for some real estate to buy in the area and learns that the manor house is owned by the late Mr Forbes-Hamilton and his opinionated and talkative wife, Audrey. Audrey Forbes-Hamilton (Penelope Keith) is a fast-talking aristocrat who would tell a perfect stranger he looks retched because he bought his clothes at the British-equivalent of Sears. Her family, the Forbes-Hamilton's, have lived in the manor house in the English countryside since the time of Queen Elizabeth I. After laying her husband to rest, she tells the vicar that it was a "lovely funeral, we must have another one sometime." Now she has to sell the manor because of debts. And who should buy the manor but Ricard DeVeer, the new stranger who is not only wealthy and non-aristocrat but was "dressed like a chessboard" according to Audrey at the funeral reception. He then makes an unexpected offer: Audrey may continue to reside at the manor if she wishes, and she accepts the offer, beginning one of the more entertaining sitcom's of its type. DeVeer and Mrs. Forbes-Hamilton become sort of reluctant bedfellows in a kind of clash of the classes, in this case old aristocracy versus bourgeoisie.
A delightful British comedy in which the many lines are simultaneously unexpected and yet fit each character's personality. Peter Bowles plays "straight-man" to the quirky characters of the town. But it's the sharp-tongued Penelope Keith as Audrey Forbes-Hamilton who steals the show. Keith is perfectly cast as Audrey whose biting rhetoric would give any politician significant cause to run and hide under a nearby bed. Not to be missed if you like British comedy of this sort.
A stylish upper-class culture clash...
CinemaSerf10 February 2021
Fresh from her success in the BBC sitcom "The Good Life", Penelope Keith ("Audrey") is the lady of "Grantleigh" - a Gloucestershire stately pile she shares with husband "Martin". The first of the 22 episodes informs us that he has died, and that her world is about to be turned upside down. He squandered all the "fforbes-Hamilton" family money and she is going to have to sell up! The auction ensues and this estate, which they have managed for 400-odd years, ends up in the hands of a self-made millionaire Czech immigrant "Richard de Vere" who made his money in supermarkets. Imagine - it's almost sacrilegious to her! Anyway, the remainder of the series' depict their constant sparring; she the superior, broke, aristocrat; he the nouveau riche upstart. Essentially a two hander, there are a couple of fun foils: "Marjorie" (Angela Thorne) her down-trodden best friend; her stoic butler "Brabinger" (John Rudling) and his mother, the wonderful Daphne Heard ("Mrs. Polouvicka") who has an old Czechoslovakian saying for every situation, and they all keep the well written comedy flowing well. It's a very British thing, this - I doubt if the humour will travel particularly well, but at the time up to 24 million of us watched their drama unfold. The combination of snobbery, pomposity and witty repartee from the pen of Peter Spence really clicks. The characters, gently stereoptyped as they are, work really well with a sophistication that endures still.
A Splendid British Comedy!
gazebo27 August 2003
I remembered watching a few episodes of this show in the 1980s on PBS Channel 13. It was the first time I was exposed to a British comedy and I thought it was rather quaint and sweet. I always regretted that I never watched the whole series. Well, to my joy, I found this show at my local library! My husband and I watched the whole show and we were both extremely amused by Audrey fforbes-Hamilton and Richard DeVere. The comedy is very sophisticated. This kind of show appeals to intelligent people. There is nothing risque or low brow about this show. The actors all had wonderful comic timing and the episodes and dialogue extremely well-written. There was a nice sexual tension between the main characters but nothing overt or vulgar. This show leads up to a delicious ending that had me cheering and wishing the show will continue! I am very satisfied how this show ended. It was just too wonderful!
One thing I want to add, Peter Bowles, as well as a very funny actor in an understated way, is extremely good looking and debonair on this show. I still remembered the fashions from the 1970s and I thought they were awful, too many polyester suits! Well, on this show, the clothing represents the best of 1970s fashion. Peter Bowles cuts quite a wonderful, handsome figure in his 1970s suits and I was surprised at how well velvet looks on him!
One thing I want to add, Peter Bowles, as well as a very funny actor in an understated way, is extremely good looking and debonair on this show. I still remembered the fashions from the 1970s and I thought they were awful, too many polyester suits! Well, on this show, the clothing represents the best of 1970s fashion. Peter Bowles cuts quite a wonderful, handsome figure in his 1970s suits and I was surprised at how well velvet looks on him!
The British Satire of All Time; Penelope Keith and Peter Bowles are Classic
silverscreen8889 October 2007
Between 1979 and 1981, 21 episodes of this unforgettable British series were produced. For whatever quality one chooses to stress, no half-hour satirical comedy ever made has ever, by my lights, come near equaling it. The writers cleverly located the principals on a spacious and fine 400 year-old English estate belonging to the very noblesse oblige upper-class Audrey fforbes-Hamilton. Her husband has just expired; it having been a marriage of convenience, she is pleased to be free; pleased, that is, until she is unable to collect quite enough money to outbid a new owner who comes into possession of her property. He is Richard de Vere, a transplanted Czech with a delightful and exasperating mother, and the position as chief executive of the conglomerate Cavendish Foods. Not to be turned off her ancestral property by a "grocer", Audrey purchases the Manor's lodge; and from this vantage point, she begins advising de Vere on what he must, must not, should have done, should not, and needs to consider doing and not doing. The merry war between the two is a classic one; and the gradual realization by both that they are two halves of a coin of great potential happiness takes an entire season to be grasped. Every episode advances one or the other's training, or both--his in what it take to deserve and preserve such a great manor, she in why she needs him so that together they can do what she cannot possibly do alone. As Audrey, Penelope Keith proves herself the best British comedic actress of the century, once again. Playing off her dynamic, lovely, funny and extraordinarily intelligent performance is no easy task; fortunately, the producer, Gareth Gwenan, assigned the role to very talented Peter Bowles, who comes close to holding his own against her formidable character. The small lodge, set against the great manor, and the manor against an increasingly vulgarized and irresponsible English citizenry with a history of far more taste are both used to set off Audrey's attempts, enforced or not, to learn how to cope with ordinary details formerly handled by servants and Richard's attempts to learn to be thoroughly Enlgish while striving for a modernity he only half understands at best. Also featured in the able cast are Angela Thorne as Audrey's friend and rival Marjorie, Daphne Heard as Mrs. Poulouvika the Mother, Gerald Sim as the bemused Rector, Michael Bilton as the lazy but lovable servant Old Ned, John Rudling as Brabinger the splendid butler who goes with her to serve Audrey, and Anthony Sharp as the womanizing old Brigadier. Many others in the town are also featured now and again, along with guest stars such as Bill Travers and Rula Lenska, and assorted class types from the corporation, the British old boy network, and the government. This is biting satire about two persons who are self-assertive, ethical and capable of being insulted, touched, advised, mistaken, friendly, impatient, angry and loving. Peter Spence and Christopher Bond are assigned credit for having produced such memorable plot ideas as a trip to Spain that is never taken, beekeeping on a budget, why hedgerows are necessary, the danger of old school friends who have lost weight, how to save a doomed railway station, shopping as a learned skill, how not to attend a formal dance, milking a back injury for fun and profit, and exampling the nastiness of snobbish upper class types who are as stuck in Feudal attitudes as are the series' government types corporate flunkies and resentful neighbors. The allegory and leads here are so perfect, by my standards, I never expect to see anything of this satirical quality ever done again in my lifetime. Rent the series, view it in order. I suggest there is not a less-than-memorable episode in the entire period from the leads' first meeting to their unorthodox decision to form a partnership called "marriage". I suggest that anyone who cannot appreciate the superiority of this series probably deserves not to do so. It is not another god British comedic series--it is THE British comedic series of all time.
Classic British Comedy!
Sylviastel17 June 2008
To the Manor Born is about how old money and new money don't necessarily mix very well. The show stars the wonderful Penelope Keith CBE OBE (a comedy veteran) who plays Audrey Fforbes Hamilton who represents old money and Peter Bowles as Richard Devere who represents new money. After Audrey's husband and lord of the manor has died much to Audrey's dismay, they didn't have a good marriage. She lets out a scream that she finally free to rule the Manor. Unfortunately, Audrey learns that she is in debt after his death. She must sell her beloved home to Richard Devere, a self-made millionaire entrepreneur who really is both Czech and Polish heritage. She sells but she moves close by and is still active in her community with her best friend played by a terrific actress whose name I can't remember. Daphne Heard plays the wonderful foreign born mother of Richard. The episodes are all classically funny and it is one of Britain's best exports. Penelope Keith is one of Britain's brilliant funny ladies up there with Patricia Routledge CBE OBE and Dame Judi Dench.
vicarious nobbing
gilleliath5 February 2024
A recent C5 doco told us that, at its peak, 24m viewers watched this. I liked it myself, as a little lad. Of course you largely got what you were given then, in TV terms; but still, it's surprising that they should have had such a big hit with such an incredibly snobby show. Mrs fforbes-Hamiton (two small 'f's!) is a character almost without redeeming features: prickly, entitled, full of hauteur; Margot Ledbetter without her humour, glamour or self-awareness. And her values seem to be the values of the show: when she sneers at nouveau-riche DeVere being 'in trade' we laugh with her; when she talks about 'noblesse oblige' we don't laugh at her. Peter Bowles and others are allowed to make fun of her at times, gently; but basically the show approves her feudal mindset, in which (very much like the royal family) she imagines herself to be conferring immense benefits on the whole district by things like doing a reading at church, organising the Huntsmans' Ball (or maybe you didn't realise that huntsmen had...?) or even just by talking to people. And she lives in an archaic world where people shop in the village, they farm with draught horses, medieval-style 'sturdy beggars' roam from parish to parish, and everybody more or less depends on 'the Manor'.
I can only imagine there must have been a deep nostalgia there, in the audience, for a paternal England which was always largely an urban and upper-class fantasy, and whose last vestiges probably expired during the war. Or are we supposed, with DeVere, to aspire to live like a Nob? Of course Bowles is charming - I suppose this show, though conceived as a vehicle for Penelope Keith, began his reign of 5 or 6 years as king of British telly. And I always enjoy his Mum calling him 'Bedrich'. Other than that, I can only think of the theme tune, which is an amazing piece of work: like a cross between Elgar and Saturday Night fever. It is in itself like a ride in a Roller - at least, it's the closest I've ever got. Hear that, see the shotguns and partridges of the opening titles, and you're right there already, living a different life, huntin' and shootin', shaking hands with people and asking condescendingly "And what do you do?".
I can only imagine there must have been a deep nostalgia there, in the audience, for a paternal England which was always largely an urban and upper-class fantasy, and whose last vestiges probably expired during the war. Or are we supposed, with DeVere, to aspire to live like a Nob? Of course Bowles is charming - I suppose this show, though conceived as a vehicle for Penelope Keith, began his reign of 5 or 6 years as king of British telly. And I always enjoy his Mum calling him 'Bedrich'. Other than that, I can only think of the theme tune, which is an amazing piece of work: like a cross between Elgar and Saturday Night fever. It is in itself like a ride in a Roller - at least, it's the closest I've ever got. Hear that, see the shotguns and partridges of the opening titles, and you're right there already, living a different life, huntin' and shootin', shaking hands with people and asking condescendingly "And what do you do?".
Absolutely charming
ingridwinter-3161329 January 2022
"To the Manor Born": A Timeless Elegance in British Sitcoms
doyler7921 January 2024
Warning: Spoilers
"To the Manor Born," a timeless English sitcom, exudes the quintessence of British humor, embellished with wit and intelligence. Penelope Keith's portrayal of the recently widowed, upper-class traditionalist Audrey Fforbes-Hamilton is executed with sheer style, capturing the character's steely determination and resistance to change. The narrative takes a delightful turn when self-made millionaire Richard De Vere, a foreigner and grocery shop extraordinare, assumes residence at Grantleigh Estate, prompting an instant clash with Audrey.
The brilliance of this classic lies not only in its predictable trajectory towards an eventual love story but in the remarkable chemistry between Audrey and Richard. The characters, despite their initial disdain, exude an indescribable charm when together, captivating the audience with an 'incredible Je ne sais quoi.' The dynamic interplay between Audrey's unwavering traditionalism and Richard's exasperation forms the crux of the show, heightened by Mrs. Poo's comedic attempts to meddle in their relationship.
While the 'hate-to-love' theme may seem conventional, "To the Manor Born" distinguishes itself with exceptional character dynamics and the unique backdrop of Grantleigh Estate. The constant banter and witty exchanges, coupled with Audrey's unorthodox suggestions, make for an engaging viewing experience. The undeniable charm and nostalgia of this classic sitcom earn it a solid 8/10, marking it as a testament to the enduring appeal of British television humor.
#tothemanorborn.
The brilliance of this classic lies not only in its predictable trajectory towards an eventual love story but in the remarkable chemistry between Audrey and Richard. The characters, despite their initial disdain, exude an indescribable charm when together, captivating the audience with an 'incredible Je ne sais quoi.' The dynamic interplay between Audrey's unwavering traditionalism and Richard's exasperation forms the crux of the show, heightened by Mrs. Poo's comedic attempts to meddle in their relationship.
While the 'hate-to-love' theme may seem conventional, "To the Manor Born" distinguishes itself with exceptional character dynamics and the unique backdrop of Grantleigh Estate. The constant banter and witty exchanges, coupled with Audrey's unorthodox suggestions, make for an engaging viewing experience. The undeniable charm and nostalgia of this classic sitcom earn it a solid 8/10, marking it as a testament to the enduring appeal of British television humor.
#tothemanorborn.
To The Manor Bored
ShadeGrenade10 June 2010
Warning: Spoilers
'Hancock's Half-Hour' and 'Steptoe & Son' popularised working class sitcoms in the late 50's/early '60's, and the line continued into the '70's with 'On The Buses' and the revival of 'Till Death Us Do Part'. But, as the decade drew to a close, things looked set to change. 'To The Manor Born' was about the idle rich. It had originally been a 1968 radio series which starred Bernard Braden as a brash American millionaire who tries to convert himself into an English country gentleman. It was never broadcast. Peter Spence then turned the idea into a novel, which formed the basis for this television show.
Penelope Keith had won millions of fans in 'The Good Life' as ultra-snob 'Margo Leadbeatter'. 'Born' cast her as 'Audrey fforbes-Hamilton', who made 'Margo' look like Ken Livingstone by comparison. In the first episode, her husband dies and she has to sell her beloved Grantleigh manor to pay death duties, meaning she must move into a coach-house nearby. The new owner of Grantleigh is Richard DeVere ( Peter Bowles ), a successful businessman of Czech extraction. She views him and his mother ( Daphne Heard ) - whom she calls 'Mrs.Poo' because she cannot pronounce her name ( 'Polouvicka' ) correctly - with disdain. Over the course of three seasons, a 'will they/won't they' situation developed, ending with their wedding in the final episode, watched by a record-breaking 24 million viewers ( beaten only in 1996 by what should have been the last episode of 'Only Fools & Horses' ).
With its classy Ronnie Hazlehurst theme tune ( which I found similar to his 'Yes, Minister' theme ), good cast ( Bill Travers guested in one show ), and gentle humour, it was a massive hit, originally going out as part of a strong Sunday night line-up that included 'Roots: The Second Generation' and 'Shoestring'. There was chemistry between the leads. Angela Thorne played Audrey's mousy friend 'Marjory', John Rudling was 'Brabinger' her butler, and Michael Bilton as 'Ned' the incompetent gardener, with Gerald Sim as the 'Rector'. It would be churlish of me to deny its popularity, but I personally did not care for the show at all. The problem for me was 'Audrey' herself. Whereas in 'Good Life', Margo's pomposity was often deflated by Tom and Barbara, here there was no-one to bring her down. I could not bear the woman. She was frightful, almost Thatcher-like in fact.
Yes, a main source of humour was Audrey attempting to come to terms with the real world, having for years been cocooned in a life of luxury, but the show was clearly on her side as she gave those little oiks a good talking-to. At a time when people were losing their jobs all over Britain, I could not drum up one iota of sympathy for Audrey. Even in her coach-house, she still seemed to enjoy a higher-than-average standard of living than most people.
The final episode was written by Christopher Bond, after Peter Spence declined to do the honours. It returned in 2007 for a one-off Christmas show which I did not see, but a friend who did told me it was more like a commercial for The Countryside Alliance.
Popular though this was, it thankfully did not lead to an eruption of similar shows. Keith's next sitcom would be the controversial 'Sweet Sixteen' in which she played a completely different character to 'Audrey' - a career woman who has an affair with a man ( Christopher Villiers ) sixteen years her junior. Viewers were aghast and it was axed after only one season.
The L.W.T. series 'End Of Part One' did an amusing parody called 'To The Mannerism Born' with Sue Holderness as 'Audrey', Denise Coffey as 'Marjory', and David Simeon as 'Mr.DeVictim!'.
Penelope Keith had won millions of fans in 'The Good Life' as ultra-snob 'Margo Leadbeatter'. 'Born' cast her as 'Audrey fforbes-Hamilton', who made 'Margo' look like Ken Livingstone by comparison. In the first episode, her husband dies and she has to sell her beloved Grantleigh manor to pay death duties, meaning she must move into a coach-house nearby. The new owner of Grantleigh is Richard DeVere ( Peter Bowles ), a successful businessman of Czech extraction. She views him and his mother ( Daphne Heard ) - whom she calls 'Mrs.Poo' because she cannot pronounce her name ( 'Polouvicka' ) correctly - with disdain. Over the course of three seasons, a 'will they/won't they' situation developed, ending with their wedding in the final episode, watched by a record-breaking 24 million viewers ( beaten only in 1996 by what should have been the last episode of 'Only Fools & Horses' ).
With its classy Ronnie Hazlehurst theme tune ( which I found similar to his 'Yes, Minister' theme ), good cast ( Bill Travers guested in one show ), and gentle humour, it was a massive hit, originally going out as part of a strong Sunday night line-up that included 'Roots: The Second Generation' and 'Shoestring'. There was chemistry between the leads. Angela Thorne played Audrey's mousy friend 'Marjory', John Rudling was 'Brabinger' her butler, and Michael Bilton as 'Ned' the incompetent gardener, with Gerald Sim as the 'Rector'. It would be churlish of me to deny its popularity, but I personally did not care for the show at all. The problem for me was 'Audrey' herself. Whereas in 'Good Life', Margo's pomposity was often deflated by Tom and Barbara, here there was no-one to bring her down. I could not bear the woman. She was frightful, almost Thatcher-like in fact.
Yes, a main source of humour was Audrey attempting to come to terms with the real world, having for years been cocooned in a life of luxury, but the show was clearly on her side as she gave those little oiks a good talking-to. At a time when people were losing their jobs all over Britain, I could not drum up one iota of sympathy for Audrey. Even in her coach-house, she still seemed to enjoy a higher-than-average standard of living than most people.
The final episode was written by Christopher Bond, after Peter Spence declined to do the honours. It returned in 2007 for a one-off Christmas show which I did not see, but a friend who did told me it was more like a commercial for The Countryside Alliance.
Popular though this was, it thankfully did not lead to an eruption of similar shows. Keith's next sitcom would be the controversial 'Sweet Sixteen' in which she played a completely different character to 'Audrey' - a career woman who has an affair with a man ( Christopher Villiers ) sixteen years her junior. Viewers were aghast and it was axed after only one season.
The L.W.T. series 'End Of Part One' did an amusing parody called 'To The Mannerism Born' with Sue Holderness as 'Audrey', Denise Coffey as 'Marjory', and David Simeon as 'Mr.DeVictim!'.
One of the Really Great Series....
renfield546 April 2000
I'm usually not a sucker for formula shows like this. They chase, they chase, but they never get together. The comedy and chemistry of Penelope Keith and Peter Bowles overcomes my initial reluctance to shows of this sort. In short, I LOVE IT, I LOVE IT, I LOVE IT... It's worth watching the series in its entirety just to have their history in your memory banks so you can enjoy the final episode of the show. It paints a lovely picture. The show ended complete. There was no more to be said. A truly classy ending to a truly classy show and cast....
Lack of depths and no passion between characters
bent-mathiesen24 February 2015
Warning: Spoilers
To the manor born is OK, but hardly worth a second view like other well known sitcoms like "Yes Minister" The manor is big - 1000 acre - and the main character Mr DeVere (Peter Bowels) buy the manor. He have to learn the country life - and the previous owner Audrey fforbes-Hamilton (Penelope Keith) is there all the time to remind him what he do wrong.
Audrey fforbes-Hamilton at the same time have to learn to do shopping in a super-marked, like those selling products from Mr DeVere.
All a promising start - it turns into a slow moving and gently politeness without much depth. I fail to see any passion between the 2 main characters, and only the constant wish "to get them together" from Mr DeVere's mother give us a hint that one day they will get married - not even one kiss just a few longer looks here and there - and a lie from Audrey about buying a ring - to prevent Devere from having to leave the Manor.
There would have been plenty of content to put into it. Too boring for a second view.
Audrey fforbes-Hamilton at the same time have to learn to do shopping in a super-marked, like those selling products from Mr DeVere.
All a promising start - it turns into a slow moving and gently politeness without much depth. I fail to see any passion between the 2 main characters, and only the constant wish "to get them together" from Mr DeVere's mother give us a hint that one day they will get married - not even one kiss just a few longer looks here and there - and a lie from Audrey about buying a ring - to prevent Devere from having to leave the Manor.
There would have been plenty of content to put into it. Too boring for a second view.
For a nation of romantics...
jenluvscymru1 January 2004
To the Manor Born is a classic and unmistakably English sit-com, with all the wit and intelligence you'd expect of good old British humour.
Penelope Keith does what she does best, in sheer style, portraying Audrey Fforbes-Hamiltion (NEVER Audrey F-H), a recently widowed and infinitely upper class traditionalist, whose steely determination makes her attitudes very difficult to change. That is, until the self-made millionaire and grocery shop extraordinary (not to mention foreign) Richard De Vere assumes residence of the stately home in which Audrey has resided (as the title suggests) since birth, after she is forced to sell her pride and joy.
Unsurprisingly, Audrey takes an instant dislike to this social upstart, an instinct which appears mutual, as Richard is driven to distraction by his predecessor's constant putdowns (which are in a league of their own) and persistent interference in his running of her beloved Grantleigh Estate. However, Richard's dear mother, Mrs Poo has other ideas about the pair, and resolves to bring her son around to her way of thinking.
Although from the word go you know this initial 'hate' relationship is going to end in the discovery of true love, and you may be thinking 'change the record', but theres just this incredible 'Je ne sais quoi' about these two characters, when they are together, that is just so captivating. For those of you who still remain unconvinced, its well worth watching for Audrey's rather unorthodox suggestion at the end.
Penelope Keith does what she does best, in sheer style, portraying Audrey Fforbes-Hamiltion (NEVER Audrey F-H), a recently widowed and infinitely upper class traditionalist, whose steely determination makes her attitudes very difficult to change. That is, until the self-made millionaire and grocery shop extraordinary (not to mention foreign) Richard De Vere assumes residence of the stately home in which Audrey has resided (as the title suggests) since birth, after she is forced to sell her pride and joy.
Unsurprisingly, Audrey takes an instant dislike to this social upstart, an instinct which appears mutual, as Richard is driven to distraction by his predecessor's constant putdowns (which are in a league of their own) and persistent interference in his running of her beloved Grantleigh Estate. However, Richard's dear mother, Mrs Poo has other ideas about the pair, and resolves to bring her son around to her way of thinking.
Although from the word go you know this initial 'hate' relationship is going to end in the discovery of true love, and you may be thinking 'change the record', but theres just this incredible 'Je ne sais quoi' about these two characters, when they are together, that is just so captivating. For those of you who still remain unconvinced, its well worth watching for Audrey's rather unorthodox suggestion at the end.
Some are born great, others achieve greatness...
kurt_messick12 December 2005
Warning: Spoilers
'To the Manor Born' is one of the better Brit-coms, witty and intelligent without being over-the-top or inaccessible. It has an oh-so-British tone to it, deliberately so, as it looks with grace and humour at the clash of cultures in modern Britain, the clash between tradition and modernity (finding out that neither is always what it seems), as well as the clash between social classes. All of this is done in such a light-hearted manor, er, manner, that one scarcely realises the biting and insightful satire that runs alongside the comedic situations.
The series begins as Audrey fforbes-Hamilton, a straight-backed, upper-crust woman of breeding who revels in her situation, is celebrating the funeral of her husband (yes, celebrating). Meanwhile, Richard Devere, wealthy (read, nouveau riche) financial officer heading a multinational conglomerate of food stores, arrives in the village in search of a classic gentleman's period home in the English countryside. As Audrey's husband was not one to keep up with the bills, she discovers that she is in fact bankrupt, and is forced to sell the manor. Richard Devere buys it at auction; Audrey is a surprising twist retains the estate's hunting lodge down the road, and the stage is set for the tensions between new homeowner and historical lady of the manor.
Supplementing the main characters are Audrey's best friend Marjorie, who variously has designs on Richard Devere, but these are almost always thwarted; Richard's mother, Mrs. Pu (Poluviska, actually, but the name is reduced for ease by Audrey); Ned, the traditional grounds-keeper who helps keep the traditions alive with Audrey; and finally, Brabinger, the quintessential English butler, who relocates to the old lodge with his mistress Audrey, and always has a few surprises up his sleeve.
There are twenty-one episodes in all, filmed and broadcast over a two-year period in 1979-1981. These run from the start of Audrey's losing the manor through to her regaining the manor, along with the hand of Richard in marriage, but not by the means often expected throughout the series. Throughout the episodes, Audrey is constantly introduced to 'ordinary life', from having to rely on the National Health for her doctor rather than private-pay, personal service, to having difficulties in shopping in supermarkets (Devere's, as it turns out) and not being able to entertain as she once did, or go on holiday (this makes for perhaps the best episode of the lot, save for the first and final episodes). Meanwhile, Devere gets lessons in being lord of the manor by the ever-present Audrey, who counsels him on everything from horse-purchasing to community responsibilities. Despite his wealth, Audrey says, 'he is still at the bottom of it all a grocer.' This is a biting commentary -- the upper-class disdain for the working class is an undercurrent here, and the entitled/en-nobled folk in Parliament used to insult both Ted Heath and Margaret Thatcher, who were both children of shopkeepers, by using the term 'grocer' to describe them.
From the threadbare carpets to the when-we-were-in-India knick-knacks to the church clock that never worked properly, this is a wonderfully crafted comedy trip through a slice of British culture that is both past and future. These are not 'issues' episodes -- 'To the Manor Born' educates by stealth. One might be completely unaware of having been taught ways of acting and being. Grantley Manor is a perfect backdrop (shot in a town with the very English-sounding name of Cricket St. Thomas), and the actors are perfectly selected. Penelope Keith as Audrey fforbes-Hamilton has the kind of mannerisms and deadpan delivery befitting a displaced socialite; Peter Bowles has the blustering presence as a self-assured businessman flustered in his new environment. Old Ned (played by Michael Bilton) and Brabinger (John Rudling) are perfected cast in both physical type and acting ability. Angela Thorne as Marjorie Frobisher, the life-long friend of Audrey, always in her shadow, is great as the 'straight man' against whom Audrey's humour unfolds.
The series begins as Audrey fforbes-Hamilton, a straight-backed, upper-crust woman of breeding who revels in her situation, is celebrating the funeral of her husband (yes, celebrating). Meanwhile, Richard Devere, wealthy (read, nouveau riche) financial officer heading a multinational conglomerate of food stores, arrives in the village in search of a classic gentleman's period home in the English countryside. As Audrey's husband was not one to keep up with the bills, she discovers that she is in fact bankrupt, and is forced to sell the manor. Richard Devere buys it at auction; Audrey is a surprising twist retains the estate's hunting lodge down the road, and the stage is set for the tensions between new homeowner and historical lady of the manor.
Supplementing the main characters are Audrey's best friend Marjorie, who variously has designs on Richard Devere, but these are almost always thwarted; Richard's mother, Mrs. Pu (Poluviska, actually, but the name is reduced for ease by Audrey); Ned, the traditional grounds-keeper who helps keep the traditions alive with Audrey; and finally, Brabinger, the quintessential English butler, who relocates to the old lodge with his mistress Audrey, and always has a few surprises up his sleeve.
There are twenty-one episodes in all, filmed and broadcast over a two-year period in 1979-1981. These run from the start of Audrey's losing the manor through to her regaining the manor, along with the hand of Richard in marriage, but not by the means often expected throughout the series. Throughout the episodes, Audrey is constantly introduced to 'ordinary life', from having to rely on the National Health for her doctor rather than private-pay, personal service, to having difficulties in shopping in supermarkets (Devere's, as it turns out) and not being able to entertain as she once did, or go on holiday (this makes for perhaps the best episode of the lot, save for the first and final episodes). Meanwhile, Devere gets lessons in being lord of the manor by the ever-present Audrey, who counsels him on everything from horse-purchasing to community responsibilities. Despite his wealth, Audrey says, 'he is still at the bottom of it all a grocer.' This is a biting commentary -- the upper-class disdain for the working class is an undercurrent here, and the entitled/en-nobled folk in Parliament used to insult both Ted Heath and Margaret Thatcher, who were both children of shopkeepers, by using the term 'grocer' to describe them.
From the threadbare carpets to the when-we-were-in-India knick-knacks to the church clock that never worked properly, this is a wonderfully crafted comedy trip through a slice of British culture that is both past and future. These are not 'issues' episodes -- 'To the Manor Born' educates by stealth. One might be completely unaware of having been taught ways of acting and being. Grantley Manor is a perfect backdrop (shot in a town with the very English-sounding name of Cricket St. Thomas), and the actors are perfectly selected. Penelope Keith as Audrey fforbes-Hamilton has the kind of mannerisms and deadpan delivery befitting a displaced socialite; Peter Bowles has the blustering presence as a self-assured businessman flustered in his new environment. Old Ned (played by Michael Bilton) and Brabinger (John Rudling) are perfected cast in both physical type and acting ability. Angela Thorne as Marjorie Frobisher, the life-long friend of Audrey, always in her shadow, is great as the 'straight man' against whom Audrey's humour unfolds.
Super British Sit-Com!
wishkah78 February 2001
When I first watched To The Manor Born one Friday night on my local PBS afilliate, I was immediately hooked from the start! In this British sit-com, Penelope Keith plays Audrey Forbes-Hamilton a charismatic and independent widow who might have to leave her stately manor that her family had lived in for years only to find out it's now being owned by Richard Devere (Peter Bowles) an owner of a supermarket chain, and not to mention a widower. I enjoy all the other characters in this like The Rector, and I haven't seen an episode I didn't like!
I really enjoy watching Audrey's and Richard's relationship develop. They're like the Emma Peel and John Steed of the show, in the fact that when they interact, they just don't know how they feel about each other! What makes this show so intriguing is it's high-brow sophisticated humor, the characters, and the in-depth storylines.
To The Manor Born is an impeccable British sit-com that deserves to be watched by anyone who's a fan of British humor. It's a lot better than the garbage they have on nowadays. :)
I really enjoy watching Audrey's and Richard's relationship develop. They're like the Emma Peel and John Steed of the show, in the fact that when they interact, they just don't know how they feel about each other! What makes this show so intriguing is it's high-brow sophisticated humor, the characters, and the in-depth storylines.
To The Manor Born is an impeccable British sit-com that deserves to be watched by anyone who's a fan of British humor. It's a lot better than the garbage they have on nowadays. :)
Aristocrats in the poor house
nobita7 December 1998
This likable series followed hot on the heels of Penelope Keith's success in 'The Good Life'. In 'The Good Life', Penelope played the thoroughly snobbish Margot Ledbetter and it is possible to see that 'To the Manor Born' was a somewhat carry on from that. In this series, made for the BBC from 1979 to 1981, Penelope plays Audrey Fforbes-Hamilton, a member of aristocracy, (and boy, doesn't she know it) and one of the 'old girls' with the very proper up-bringing. When her husband dies, Audrey discovers she is in serious debt and must sell the house, Grantley Manor. The Estate is bought by Mr Richard DeVere, a Czechoslovak immigrant who has established a very successful chain of supermarkets called 'Cavendish Foods'. Audrey moves into the Gate-Keepers lodge and continues to live the aristocratic life. The show is a gentle dig at English aristocratic life and those who are members of it and those who are trying to. The show is also dominated by the 'will-they-or-won't-they' relationship between Audrey and Richard (played by Peter Bowles). One of the many likeable British comedy series.
Shameful.
thegumball18 June 2005
Unfortunately, this is one of those series that portrays the English as being a nation of foppish aristocrats. We all know this is not the case - our country is, after all, the origin of the word 'chav' - and yet some of my American friends are calling this a 'true British sitcom,' etcetera.
This is a largely forgettable series that should appeal to the upper-middle classes and Tory voters. It focuses around Audrey Fforbes-Hamilton and the trials and tribulations of being so fantastically rich that you never need to do anything, besides being generally obnoxious and judgemental to everybody around you, and Richard DeVere, who is constantly being lampooned for his non-English heritage.
To The Manor Born shares The Royle Family's amazing variety for place and people, as well as its stereotypical portrayal of an English societal class, using its subject of upper class for 'comedic' racism and the development of inferiority complexes.
Having watched a good few episodes from the series, I find it to be unforgettable and often rather boring. It is suitable for background viewing, if you can stand Audrey's shrill voice.
I advise you to steer clear. An acquired taste for sure.
This is a largely forgettable series that should appeal to the upper-middle classes and Tory voters. It focuses around Audrey Fforbes-Hamilton and the trials and tribulations of being so fantastically rich that you never need to do anything, besides being generally obnoxious and judgemental to everybody around you, and Richard DeVere, who is constantly being lampooned for his non-English heritage.
To The Manor Born shares The Royle Family's amazing variety for place and people, as well as its stereotypical portrayal of an English societal class, using its subject of upper class for 'comedic' racism and the development of inferiority complexes.
Having watched a good few episodes from the series, I find it to be unforgettable and often rather boring. It is suitable for background viewing, if you can stand Audrey's shrill voice.
I advise you to steer clear. An acquired taste for sure.
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