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Hugh and I George and the Dragon Whacko! Pop Shows Brief details of other surviving shows. See also Dick and the Duchess. Details of selected later comedy series from the late s onwards So many wonderful comedy gems have been needlessly wiped! Of course, to put it another way, a lot of dud material too, some of which, like Meet the Wife, have irritatingly survived the years.

But, oh, to be able to turn back the clock, and remonstrate with the short sighted executives who insisted tapes were wiped. Let's celebrate briefly three fine situation comedy series that I specially love. Who can forget that memorable opening in the shop window? Name the two stars centre stage. The best of the scripts provided Tony Hancock with a brilliant foil for his comic genius. Yet to assume they are all perfection would be too hopeful- quite often the shows are almost as humdrum as the very best of their contemporaries, however when at the peak of excellence, they are unsurpassable even today.

So where exactly did Hancock's once eagerly anticipated ATV series go wrong? The stories were built around the same old Tony Hancock, he had the same mannerisms, the same slightly bigoted attitudes. Was it the absence of Sid James? Certainly that was one failing, but more importantly, Hancock is clearly suffering from a lack of confidence.

And who can blame him once he had first seen those scripts? Yes the missing ingredient is Galton and Simpson, those ace scriptwriters. Twenty years earlier Laurel and Hardy, the greatest comedy duo had seen their film career collapse, when writers insisted on merely recreating their old gags. And so here, this is sub Hancock, the same Hancock washed up again, but never in quite the right mixture as before, and never with any inventiveness. A couple of these stories have potential, even if unfulfilled potential, but the others are simply abysmal, marking the sad collapse of the greatest television comedian.

Laurel and Hardy did almost revive their careers on stage, but sadly the lad from East Cheam never quite made a good comeback. The picture is from the ATV Hancock series, one of the stories not currently available. In his Alpine costume, he's stuck in the aisle, unable to get past her. Then he has an altercation with a passenger, Hancock rather unpleasantly standing on the man's legs.

He gives us his war memoirs how we drove the plane with his feet etc, all very unsubtle, and pointless too. After the plane has landed the journey to the Alpine hotel. The fun should really start at the hotel, but it doesn't.

The receptionist Richard Wattis greets Tony with an apology, "we only accommodate celebrities The figures on the doors are rickety and 26 turns into 29 booked for a French lady June Whitfield. She is not too impressed that she has to share with Tony, nor is the receptionist impressed with the "intrigue," though Tony doesn't mind sharing. It's Kenneth Williams, he can't make much of the script either, though he gives it his best shot. The mood does pick up building up to a nice joke about Hancock's photo.

Williams is apparently the yodelling champ of East Dulwich, "I've got the biggest yodel in Dulwich. Their third companion spends his time blowing an Alpine horn, Hancock is glad to get out on the ski slope, but after an accident a forlorn Hancock returns to the hotel and a new room. Another misunderstanding with the French lady and Hancock is placed under arrest.

In the last scene he's behind bars, six months solitary, better, he decides, than the hotel To the Hancock Page. Now the prosecution Tony Hancock , cataloguing the marriages of a very bland looking bigamist and "his all too obvious charm. It's another failure for our lad. Prisoner in the cell is Sid. He's sure Sid must be dead guilty, but Sid explains him how to get him off. In court, the defence produce numerous objections, to no avail, but where are the witnesses who are to testify against Sid?

All have mysteriously not turned up. A stand-in policeman Arthur Mullard reads the prosecution case from his notebook with the classic line, "we took him into custard Tony fluffs Sid's surname, but that isn't in the script. Sid's pathetic story can bring only one outcome. The identity of the guilty man is revealed. Tony explains all in a Dartmoor quarry Hancock Page. All the best people are present. But not for much longer. Proceedings are interrupted by a plane taking off. The whole place rattles to its foundations.

The audience disperse not upon the order of their going. Tony must sell his white elephant home. Will estate agent Sidney James buy it back from him? So why not sell it himself? In dense fog, newlyweds are shown the property, and are they smitten?

They are until a plane takes off, for "the fog's lifted. Sid is selling another house to an aged couple whose last home has fallen over a cliff. It might seem that in those days people bought houses without much care and without drawn out solicitors' searches!

Another musical soiree, Tony on cello. Nearby the new dam is declared open. Tony rows off in the double bass. Tony fluffs one line but makes a nice joke of it. He does even better with a faulty table leg To the Hancock Page.

Hancock's Forty Three Minutes This is some sort of variety show. In a real dinner jacket Tony tells us the joys of compering. So we begin with the showgirls, rather plump, ordered off by Tony, but with their weight, it's hard to push them off.

They exit with insults to "fatty. Then there's a real monkey act, it wouldn't be allowed these days. Next three jugglers led by Tony perform some completely expected poor tricks, followed by a proper juggler who shows how to do it. Tony is back with a large harmonica, except of course he's only miming. Found out, he does a duet with Max Geldray, not a success, so the great man, Geldray that is, does a solo turn. Arnold's paper tearing leaves Tony speechless.

Ditto his spoon act. His "piece de resistance," a dance, similarly finds Tony unimpressed. Indeed it is amateurish. The Keynotes sing Wake Up Little Susie, this is supposed to be for real, though rock n roll it ain't. Gypsy in My Soul follows. John Betjamin refuses to appear, and doesn't. After a One For All, Tony scolds him, "if you'd turned up for rehearsals Gregson isn't a comic and is too over the top here.

Morecambe-like flattery stops him walking off in a huff and we watch a swordfight of sorts, Douglas Fairbanks it is not. White Christmas is the finale To Hancock 's menu. He's worried about his new tv series, Ericson King of the Vikings. We soon see why.

At Splendide Film Studios, Sid in charge, the cast are revolting. Takes 1, and 2, and 3 and 4, all very very brief, a puzzled Hancock stops to inspect the one camera, it's a still camera!

Tony demands they use a proper camera, which he offers to pay for. Immediately Sid produces one, "I've been waiting for you to pay for it. But it must be American to capture their market. Tony tries to keep a straight face. After a duff fight with duffer sound effects, on to victory by Ericson.

Now to the cutting room, where Sid is inexpertly at work, he also muffs one line. Tony awaits the finished product in front of his tv screen, "I wonder what sort of mess he's made of it. The opening is a nice parody on Robin Hood. Thereafter it's more akin to the Goons as our heroes step on to a London bus, maybe as well the BBC cut it off, axing the film, in favour of the 84th showing of the London to Brighton train To the Hancock Page. The Set That Failed Fine observation on the new telly viewing habit, with some interesting references to contemporary programmes.

The Lad faces the possibility of missing "highlight of the week" Dotto at 7. Though to vainly console himself he falls back on that old standby that there's nothing on to miss.

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