Reviews

I was 15 and studying the play for GCE exams in the late '60s whilst at boarding school; in a place not totally disassociated in my mind's eye from the setting of the play. It evoked sympathy and attachment within me because of the parallels within it and my own situation. We were told not to watch the film if it came on television as it would or might change our perception of the play in its written form. I happened to be in Maidstone one Saturday afternoon and noticed that it was the second film on at a local flea-pit. as I was always looking for shortcuts in ways to learn (lazy) I ignored the remonstration not to see the film and went in. Having read the play six or seven times and even had an opportunity to act the play within a class setting; I established myself as a critical observer. I was not ready for the absolute impact that it had on me, here were the characters of my imagination and reality acting out this story to which I was so attached, in a manner and style to which I knew to be square and true with my own perception. I will not re-hash the plot as others have done a superb job of that, but will add that this film has a pace and acting precision seen only but a few times, and then to no greater effect than is seen here. Redgrave's performance is flawless, the supporting cast are absolutely perfect and I can think of none who could have improved it by their presence. I left the cinema in shock; returning to the school numb from the experience and the knowledge that I just had to share the fact I had seen it; I came clean and told the head English master (born in 1898), he gated me for a month, and then asked if I enjoyed it, I gushed about all of it and how it had increased my understanding of the tragedy and ultimate renaissance of Crocker Harris. Strangely the love of this play and the admission of my transgression created a strong bond between myself and this crotchety old teacher; even ironically to his lending me a copy of the "Browning Version". This is a great movie, a true work of cinematic genius. The movie is available on DVD so you have no excuse.

Without doubt this show is the magnum opus of Perry and Croft, it's 26 episodes enchant and beguile like no other show. Set between the wars in one of London's great houses, it follows the life of Lord Meldrum, his family and their servants. Every facet of this show extols the virtues of the cast, set designers, and writers to perfection. Few shows have ever captured the feel of an era better, capturing as it does the styles, social issues and morals of the transitional era that followed the reign of Victoria. The extraordinary attention to detail at all levels involves one entirely, this mated with a superb script which supports all the visual magic, leaves only the actors to make the best of it all. This they do with extraordinary finesse and believability, one can completely empathize with each character and have sympathy with each role. The show is actually a serial, but with each episode featuring a vignette, it is episodic as well. It is impossible to define any one actor as being a lead as each role attaches itself seamlessly to the story, to create a gorgeous sense of flow and continuity, it is involving, poignant and immensely funny. The troupe consists of many regular players from David Croft's "stable", but in no other show are they better used. The cast and crew are detailed in the body of the IMDb page, but a must mention are the almost background parts played by Perry Benson, Barbara New and Mavis Pugh, as Henry, Mabel and Lady Lavender respectively. Between them, they inject a positively brilliant series of almost surreal comedic asides all through the series, and they add to its charm and depth immeasurably. One could go on and on about all the virtues of this show, but in conclusion, I honestly think that this wonderful story is the absolute epitome of British TV comedy, the like of which, is unlikely to be seen again, it is a work of quality, passion and genius at every level. If you get a chance to see it, you must.

The Goons came to TV in the form of absurd and lovable puppets. I will never forget the sight of Eccles wearing a patched potato sack, it was just as I had pictured him... As a youngster I never missed an episode of this wonderful show, it was madly funny and was one for the few shows that made everyone laugh, with few dissenters. There was no social commentary, barely a plot, yet the cast was so strong that the interaction between them and the humor that was generated was endless. I wish that some of these episodes (any) were available on video, but I believe that all have been destroyed. This was TV comedy at its very best, its like will never be seen again. If there are any episodes still out there, please post that info to this page.

Check his pockets Min...

It confuses me to see that some folks see this show as being racist, I think they might have got the wrong end of the stick. The exact opposite is actually the case, whilst it played to the Brit mind set of stereotypes, it actually served a different purpose. This show in no small way eased the discomfiture common to all people when dealing with different and often strange cultures and customs. It breached the walls of fear through the expedient of comedy, it coerced an emotional response in viewers, because for the majority of viewers, the day to day reality of dealing with a large influx of new immigrants was the very real language barrier and the frustrations that this brought about. MYL, used this theme to illuminate problems and societal frustrations, by showing the efforts newcomers to the UK make to become accepted as "English", watching Sid teach Max and Giovanni cockney phrases is priceless; it underlines the entire theme of the show, that of striving for acceptance.

The characters were all sympathetically styled as to engender endearment rather than distrust, it showed that all were equal and worthy of respect. Watch this show a few times, get to know the characters, and you will soon see the warmth and deep interpersonal attachments that develop regardless of race, creed, religion or colour.

All of the characters in this show were on equal footing, Jeremy Brown as the teacher may come across as being superior, but his position in this regard was eminently challenged by all the characters and their individual sense of worth. From the aloofness of Taro, through the haughtiness of Danielle, who can say that these characters were demeaned or portrayed in a "racist" manner? In fact, their own national, political prejudices are brought out time and time again only to be set aside by the obvious familial love that is evident throughout the entire series.

This show did more than make people laugh, it helped create an understanding and appreciation of those portrayed. It highlighted even the subtlest of racism amongst those that thought themselves non-racist and exposed it for what it is; which is rotten. The school inspector episode (series 1 #2) sets the matter very straight and confirms the underlying story theme that racism is a curse. To view the characters as being created for ridicule and to be the object of the joke, is to have watched this show with only one brain cell operating.

The acting and the overall comedic timing were as good as any of the era or previous, and few comedies of the modern era capture the overall "zeitgeist" of their time as succinctly. One hopes that the current problems with releasing the remaining three episodes will soon be overcome, as they would be much appreciated by fans.

This is a delightful and charm filled show, the characters are wonderful and truly likable. Every character is a larger than life stereotype, including all of the English roles. Miss Courtney, Sid (the cockney) and Jeremy Brown (the teacher), play their respective societal types in amplified form; they are stereotypes in the true sense. These elements perhaps over the top on their own, succeed in reaching across the class spread of British society. This combined with the warm performances of the cast in total, produces a show of eminent quality and one worthy of watching many times.

I have seen this movie dozens of times and on each viewing a new mini vista opens up. Tati does not seek to write or tell a story, the movie is as fragmented and broken as only a movie about a vacation could be. Having known and visited small places on the north French coast in the '50s, I found that the movie carries the sense of calm,innocence and pace of the region and the time with absolute truth. The never ending series of contrasts in the movie, from the deranged passenger station and Hulot's journey in his jalopy, to fast cars pushing him off the road and his having to stop because of a dog sleeping in the road. All these events leading up to the actual vacation put one in the mind and spirit of one in Hulot's place. The camera work at all times enhances this sense of pace and is on occasion truly beautiful. Through the various escapades as the vacation unfolds on a daily basis, we are taken on a spirited and delightful week at the coast. The dialog such as it is,adds no more than an extension to the wonderfully atmospheric musical score. This has none of the social commentary of other movies by Tati such as "mon oncle", yet in retrospect, it is a chronicle of many things lost. This in summary is a work of genius, it has been fresh for more than 50 years and it would be hard to improve upon in the next 50.