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Kapow, gling, gling! | 0:00:12 | 0:00:14 | |
Inside me, there's a tiny... | 0:00:14 | 0:00:16 | |
idiot, you know, running round falling over, bumping into walls. | 0:00:16 | 0:00:20 | |
I usually start laughing when I think about that. | 0:00:26 | 0:00:30 | |
Falls, pratfalls, buffoonery, | 0:00:30 | 0:00:33 | |
-goofing around.... -Hmmhoohoohmmhmm! | 0:00:33 | 0:00:36 | |
Pushing each other over and slapping each other. | 0:00:37 | 0:00:40 | |
-Dong! -Tchhh! Bong! | 0:00:40 | 0:00:42 | |
I love the energy. It's real. | 0:00:42 | 0:00:44 | |
A dog with wind... | 0:00:45 | 0:00:48 | |
blowing itself into a fire and then exploding. | 0:00:48 | 0:00:52 | |
-Slapstick. -Yeah. | 0:00:52 | 0:00:55 | |
Welcome to The Story of Slapstick. | 0:01:08 | 0:01:10 | |
Tonight, we will explore and celebrate some of the best slapstick from the last 100 years. | 0:01:10 | 0:01:16 | |
Slapstick is still as popular today as it's ever been and it can be found in the most surprising places. | 0:01:16 | 0:01:22 | |
Like a very funny thing that's been around for a long time, | 0:01:25 | 0:01:28 | |
slapstick can be traced back through the years and has taken on many forms. | 0:01:28 | 0:01:32 | |
It's in Vic and Bob's cartoon capers. | 0:01:36 | 0:01:39 | |
It's in the anarchic alternative comedy of the '80s. | 0:01:40 | 0:01:44 | |
In fact, it's been around as long as TV itself. | 0:01:45 | 0:01:48 | |
And some of the funniest moments ever seen | 0:01:49 | 0:01:51 | |
are from the days before we had colour, or even sound. | 0:01:51 | 0:01:54 | |
For some reason, we just keep coming back to good old slapstick. | 0:01:58 | 0:02:01 | |
But why do we love it so much? | 0:02:05 | 0:02:06 | |
Well, let me take you back to when you were very, very young and life seemed much simpler. | 0:02:06 | 0:02:11 | |
CHEERING | 0:02:11 | 0:02:14 | |
The first things, when you're a kid, that you laugh at | 0:02:14 | 0:02:17 | |
are poo and falling over. | 0:02:17 | 0:02:19 | |
I've brought up kids and I've studied them to see what makes them laugh! | 0:02:19 | 0:02:23 | |
And that's it. So that's the first thing you start thinking is funny. | 0:02:23 | 0:02:27 | |
And it should carry on through the rest of your life. | 0:02:27 | 0:02:29 | |
Maybe forget the poo as being funny, but the slapstick should carry on. | 0:02:29 | 0:02:32 | |
Who wants ice-cream? | 0:02:37 | 0:02:38 | |
If someone said, "What do you think slapstick is?" You'd instantly think of clowns. | 0:02:38 | 0:02:43 | |
Heightened moments of violence | 0:02:45 | 0:02:47 | |
that just spring out of an absurd situation escalating. | 0:02:47 | 0:02:50 | |
HE YELLS | 0:02:50 | 0:02:52 | |
HE YELLS | 0:03:08 | 0:03:10 | |
So, where did this primal form of laughter begin? | 0:03:10 | 0:03:13 | |
Well, no one was telling gags in the Stone Age and early humour couldn't rely on punch lines for laughs. | 0:03:13 | 0:03:19 | |
Slapstick comedy gets you somewhere right in your gut. | 0:03:21 | 0:03:24 | |
It feels like a really primitive, ancient form of laughter. | 0:03:26 | 0:03:30 | |
The first mention of slapstick in the history books comes from Italy in the 16th century. | 0:03:35 | 0:03:41 | |
The Commedia dell'Arte was a popular form of improvisational theatre. | 0:03:41 | 0:03:45 | |
Slapstick comedy comes from the theatrical tradition | 0:03:45 | 0:03:49 | |
of physical comedy with an element of violence and the possibility of pain. | 0:03:49 | 0:03:54 | |
It's been around for so long and it's such a old form of comedy. | 0:03:54 | 0:03:59 | |
But it's changed over the generations. | 0:03:59 | 0:04:03 | |
It's difficult to define, really. | 0:04:03 | 0:04:07 | |
Well, Matthew, the dictionary says "slapstick is... | 0:04:07 | 0:04:11 | |
"comedy based on deliberately clumsy actions and humorously embarrassing events." | 0:04:11 | 0:04:16 | |
But hands up who can tell me where the term actually comes from? | 0:04:16 | 0:04:20 | |
To me, slapstick has always been the actual slap stick. | 0:04:20 | 0:04:23 | |
Ooh, very good, Innes, anyone else? | 0:04:23 | 0:04:26 | |
A slap stick is a bit of wood which is split so it makes a loud noise if you hit somebody with it. | 0:04:26 | 0:04:31 | |
By doing that, you let that bit come behind and then by stopping short, | 0:04:31 | 0:04:36 | |
the other one slapped. Simple. | 0:04:36 | 0:04:38 | |
Until the late 1800s, slapstick was performed in theatre and music halls, | 0:04:41 | 0:04:46 | |
but the Lumiere brothers from France were about to be the first to bring slapstick to the big screen. | 0:04:46 | 0:04:51 | |
This remarkable film was shown at a Parisian cafe in 1895, | 0:04:51 | 0:04:54 | |
in the first ever public screening of moving pictures. | 0:04:54 | 0:04:59 | |
The gardener is out with his hose and a young boy playing a prank | 0:05:03 | 0:05:07 | |
puts his foot on the hose, stops the water coming through the hose. | 0:05:07 | 0:05:10 | |
At that moment, modern slapstick was born. | 0:05:17 | 0:05:20 | |
Moving pictures became all the rage and slapstick comedy was perfect for this new medium. | 0:05:20 | 0:05:24 | |
I think very early on, anybody wanting to produce comedy for audiences, for screen audiences, | 0:05:26 | 0:05:32 | |
needed to produce something visually, because there was no sound. | 0:05:32 | 0:05:36 | |
So without sound, it had to become more expressionist or exaggerated. | 0:05:36 | 0:05:40 | |
America's newly established film industry embraced the form and, from 1910 to 1929, | 0:05:42 | 0:05:48 | |
hundreds of silent comedy shorts and features were released. | 0:05:48 | 0:05:51 | |
It was the golden age of slapstick and the stars of the genre are still known today. | 0:05:51 | 0:05:55 | |
It was the era of Harold Lloyd, Laurel and Hardy, Charlie Chaplin and of course, Buster Keaton. | 0:05:59 | 0:06:06 | |
During his career, Keaton starred in over 80 films. | 0:06:08 | 0:06:12 | |
An incredible acrobat, he performed his own stunts. | 0:06:12 | 0:06:15 | |
And, in 1928, | 0:06:15 | 0:06:17 | |
he astounded audiences with what has become one of the most iconic images | 0:06:17 | 0:06:21 | |
cinema has ever produced. | 0:06:21 | 0:06:23 | |
I think it's the single most dangerous stunt that's ever been performed by an artist, really. | 0:06:30 | 0:06:35 | |
So to not use a stuntman is an incredible thing. | 0:06:35 | 0:06:38 | |
You can watch it again and again and still marvel at it, | 0:06:38 | 0:06:41 | |
the perfection of the calculation involved | 0:06:41 | 0:06:44 | |
and the skill of his relaxed persona. | 0:06:44 | 0:06:48 | |
You can see when you look at the film | 0:06:48 | 0:06:50 | |
that there's barely two or three inches either side of the window. | 0:06:50 | 0:06:55 | |
And it needed to be weighted quite substantially, | 0:06:55 | 0:06:58 | |
which meant if it hit him, it would kill him. | 0:06:58 | 0:07:00 | |
Keaton's stunt was so impressive that it spawned many imitations. | 0:07:00 | 0:07:04 | |
Although not all were as impressive as the original. | 0:07:07 | 0:07:10 | |
They explained to us that the house front couldn't be lightweight, because if it was lightweight, | 0:07:17 | 0:07:24 | |
it would drift down and be uncontrollable. | 0:07:24 | 0:07:27 | |
So it had to be heavy and we had to stand in exactly the right place. | 0:07:27 | 0:07:31 | |
We had a Buster Keaton lookalike run on and take notes afterwards and then run off. | 0:07:36 | 0:07:40 | |
We thought that took the curse off it! | 0:07:40 | 0:07:42 | |
Buster Keaton may have risked life and limb for laughs | 0:07:42 | 0:07:47 | |
and Harold Lloyd thrilled audiences with his daredevil feats... | 0:07:47 | 0:07:51 | |
But the biggest star of the silent era was a little fella from London. | 0:07:53 | 0:07:57 | |
As well as great athleticism and timing, | 0:07:57 | 0:07:59 | |
Charlie Chaplin brought a level of sophistication to his performances that few could match. | 0:07:59 | 0:08:04 | |
His films were not only funny, they could also be poignant. | 0:08:07 | 0:08:12 | |
That is great art. | 0:08:12 | 0:08:14 | |
Tears and laughter are very close, | 0:08:15 | 0:08:17 | |
so it can bring the tears to your eyes, | 0:08:17 | 0:08:19 | |
but it also moves you to laugh. | 0:08:19 | 0:08:21 | |
In fact, you don't quite know which you should be doing. | 0:08:21 | 0:08:24 | |
It's a different thing to pure comedy. | 0:08:24 | 0:08:29 | |
I think it's a different form, | 0:08:29 | 0:08:31 | |
so it's sort of almost unfair to say, "It didn't make me laugh." | 0:08:31 | 0:08:33 | |
Because it's a different form, it's like a dance. | 0:08:33 | 0:08:35 | |
I think it is like ballet. | 0:08:36 | 0:08:38 | |
He would rehearse those kinds of sequences over and over again to get it exactly right. | 0:08:39 | 0:08:44 | |
So it looks to be spontaneous and free, maybe even improvised. | 0:08:44 | 0:08:49 | |
But very often, it may have been shot 30, 40 times | 0:08:49 | 0:08:51 | |
before he's happy with the sequence that we see on the screen. | 0:08:51 | 0:08:55 | |
He was such a perfectionist. | 0:08:55 | 0:08:57 | |
The universal appeal of slapstick, as pioneered by Keaton and Chaplin, amongst others, | 0:08:58 | 0:09:03 | |
has inspired performers ever since. | 0:09:03 | 0:09:06 | |
In the 1950s, that influence is visible in the films of Jacques Tati. | 0:09:06 | 0:09:10 | |
In the '70s, it inspired the Eric Sykes classic The Plank. | 0:09:10 | 0:09:14 | |
And today, it is evident in the hugely successful escapades of Mr Bean. | 0:09:14 | 0:09:19 | |
-Arrararrrrr... -People love that, people love Mr Bean. | 0:09:22 | 0:09:26 | |
Of course it also transcends language. | 0:09:26 | 0:09:28 | |
He might not say much, but that may just be the key to his appeal. | 0:09:48 | 0:09:52 | |
As one of the most successful British comedy characters, | 0:09:52 | 0:09:56 | |
Mr Bean has sold to over 200 countries around the world. | 0:09:56 | 0:09:59 | |
I was on a plane and they played an episode of Mr Bean. | 0:10:00 | 0:10:03 | |
And you could hear the whole laughter | 0:10:03 | 0:10:07 | |
sweeping backwards and forwards across the plane, you know. | 0:10:07 | 0:10:10 | |
And I had this image of this plane flying through the clouds | 0:10:10 | 0:10:14 | |
and the laughter kind of echoing out of it, you know, into the sky! | 0:10:14 | 0:10:19 | |
But let's face it, Mr Bean is not everyone's cup of tea. | 0:10:22 | 0:10:27 | |
I do find him creepy. | 0:10:29 | 0:10:30 | |
Why can't he speak words? | 0:10:30 | 0:10:32 | |
You know. Rather than this kind of "arrarraaaa". | 0:10:32 | 0:10:35 | |
It's like he's some strange... | 0:10:35 | 0:10:37 | |
creature from another planet or something. | 0:10:37 | 0:10:41 | |
The infuriating side of Mr Bean's character inspired Alexei Sayle's Bean parody, Mr Aubergine. | 0:10:41 | 0:10:48 | |
Aubergine...bean, yeah? Get it? | 0:10:48 | 0:10:52 | |
Mr Aubergine was sort of in the real world and so it was kind of playing with that. | 0:10:52 | 0:10:57 | |
If somebody was really behaving like that in the real world, just how obnoxious would they be, you know?! | 0:10:57 | 0:11:03 | |
Just how awful?! | 0:11:03 | 0:11:04 | |
We can't get enough of silent comedy now. | 0:11:23 | 0:11:25 | |
But back in the old scratchy black-and-white days, | 0:11:25 | 0:11:28 | |
it looked like the writing was on the wall for slapstick. | 0:11:28 | 0:11:30 | |
The arrival of sound proved to be a bit of a banana skin for many of the biggest stars of that time. | 0:11:30 | 0:11:36 | |
When Chaplin started talking, no-one really liked his voice. | 0:11:40 | 0:11:44 | |
So that was the end of him. | 0:11:44 | 0:11:47 | |
The careers of Chaplin, Keaton and Lloyd all went into decline. | 0:11:50 | 0:11:56 | |
Sound changed the movies and it was now all about the words. | 0:11:56 | 0:12:00 | |
Slapstick was hanging on for dear life. | 0:12:00 | 0:12:02 | |
It looked like slapstick comedy was finished. | 0:12:02 | 0:12:05 | |
But two unlikely saviours would come to its rescue. | 0:12:05 | 0:12:08 | |
When Stanley Jefferson was introduced to Norvell Hardy, | 0:12:08 | 0:12:11 | |
the world's most popular double act was formed. | 0:12:11 | 0:12:14 | |
-Hey! Got a match? -Sorry, I don't smoke! | 0:12:14 | 0:12:17 | |
By the time they made their first talkie, they had appeared together in over 30 silent films. | 0:12:18 | 0:12:24 | |
And unlike their counterparts, their voices seemed to fit their characters. | 0:12:24 | 0:12:28 | |
I suppose you've got to have the right voice and Laurel and Hardy did. | 0:12:30 | 0:12:33 | |
I mean, they didn't say a lot, but Stan had his, "Woo woooo woo." | 0:12:33 | 0:12:37 | |
I never thought of that. | 0:12:39 | 0:12:42 | |
# Shine on, shine on, harvest moon | 0:12:42 | 0:12:48 | |
# Up in the sky... # | 0:12:48 | 0:12:49 | |
The other good thing that worked very well with Laurel and Hardy films is, | 0:12:49 | 0:12:53 | |
they stick to broadly visual comedy. | 0:12:53 | 0:12:55 | |
They don't leap into the new medium and think, "It all has to be sound now, let's do lots of sound gags." | 0:12:55 | 0:13:01 | |
They bring in things, but they still use those extended sequences of visual comedy. | 0:13:01 | 0:13:05 | |
So if you look at the first few sound shorts of Laurel and Hardy, it's still very much silent comedy. | 0:13:05 | 0:13:12 | |
Laurel and Hardy are brilliant. | 0:13:15 | 0:13:17 | |
I mean, they're unique. | 0:13:17 | 0:13:19 | |
And they had this great knack for visual comedy, because they look funny to start with. | 0:13:19 | 0:13:26 | |
And Stan Laurel, who wrote the scripts, was very inventive | 0:13:26 | 0:13:29 | |
in finding ways to use physicality in the comedy. | 0:13:29 | 0:13:33 | |
What I really love about it, which I'd forgotten, is the fact that it is so deliberate. | 0:13:33 | 0:13:38 | |
So Stan Laurel will open his trousers up and allow someone to pour custard in. | 0:13:38 | 0:13:43 | |
It's not like there's any defence, they just go along with it! | 0:13:43 | 0:13:47 | |
And that's what makes it so hilarious. | 0:13:47 | 0:13:49 | |
Audiences identified with the characters of Stan and Ollie. | 0:13:51 | 0:13:54 | |
They flocked to see the latest Laurel and Hardy movies in a time of real hardship. | 0:13:54 | 0:13:59 | |
At the height of their popularity, the world was in the grip of the Great Depression. | 0:14:00 | 0:14:05 | |
This pair of dunderheads and their simple slapstick routines | 0:14:09 | 0:14:12 | |
provided the perfect escape from the complications of everyday life. | 0:14:12 | 0:14:17 | |
Their memory of the depression in the Thirties | 0:14:18 | 0:14:21 | |
is never too far away from a Laurel and Hardy film. | 0:14:21 | 0:14:24 | |
There's that kind of element when a whole society | 0:14:24 | 0:14:27 | |
and a whole nation, a whole culture was struggling to survive. | 0:14:27 | 0:14:31 | |
And I think that's why Laurel and Hardy's so potent, because usually they are penniless, | 0:14:31 | 0:14:36 | |
they've got some menial job that they're performing. | 0:14:36 | 0:14:39 | |
They're just trying to make a buck, kind of thing. So we've instantly got sympathy for them. | 0:14:39 | 0:14:44 | |
Slapstick, really good slapstick, is literally about survival. | 0:14:45 | 0:14:49 | |
It's about, "He got hit by a plank and it didn't kill him." | 0:14:49 | 0:14:52 | |
Slapstick struck a chord with audiences the world over, | 0:15:00 | 0:15:03 | |
but why does the sight of someone coming a cropper always make us chuckle? | 0:15:03 | 0:15:07 | |
Well, Sigmund Freud, who, as we all know, liked a laugh, came up with a few answers. | 0:15:11 | 0:15:17 | |
Freud said that we have this desire to witness cruelty, or to in fact actually be cruel ourselves. | 0:15:17 | 0:15:24 | |
We have this vicarious experience through slapstick comedy. | 0:15:24 | 0:15:28 | |
We do like to watch people suffering, even if it's pretend suffering. | 0:15:29 | 0:15:32 | |
It's painful for that person, but not for you. | 0:15:34 | 0:15:36 | |
It's fun, because it's not happening to you. | 0:15:36 | 0:15:38 | |
Maybe it's a reaction that it's something you shouldn't laugh at, | 0:15:38 | 0:15:42 | |
so it's kind of a nervous reaction to something that's really quite bad. | 0:15:42 | 0:15:47 | |
He fleeth, as it were a shadow, and never continueth... | 0:15:48 | 0:15:53 | |
People feel constrained to laugh at funerals or in church and situations like that. | 0:15:54 | 0:16:01 | |
Pleased Almighty God... | 0:16:01 | 0:16:02 | |
Take unto himself the soul of this child here departed. | 0:16:03 | 0:16:07 | |
We therefore commit his body to the ground. | 0:16:07 | 0:16:11 | |
If somebody slips on a banana skin and falls on their bum, it's comedy. | 0:16:13 | 0:16:17 | |
If they slip on a banana skin and fall down a manhole and die, it's tragedy. | 0:16:17 | 0:16:21 | |
It's a way of releasing our anxiety about death. | 0:16:23 | 0:16:28 | |
In a way, you can reduce all of slapstick to that basic joke, "Ha ha, it's not me." | 0:16:28 | 0:16:34 | |
The world loves slapstick and we can't let the Yanks take all the credit. | 0:16:39 | 0:16:43 | |
Slapstick in good old Blighty was thriving. | 0:16:43 | 0:16:45 | |
The biggest star of the day was Norman Wisdom | 0:16:45 | 0:16:48 | |
and he brought the pratfall to the big screen in Britain. | 0:16:48 | 0:16:51 | |
But the 1950s would see many more British stars become household names. | 0:16:53 | 0:16:57 | |
The reason was simple - telly. | 0:16:57 | 0:17:00 | |
Much of television was broadcast live. | 0:17:03 | 0:17:07 | |
Comedians like Charlie Drake discovered that performing live slapstick | 0:17:07 | 0:17:11 | |
could be a very dangerous business. | 0:17:11 | 0:17:13 | |
The one time that he really hurt himself on live television, he was pulled through a bookcase. | 0:17:19 | 0:17:24 | |
And he went into it head first, and the shelf was a breakaway shelf. | 0:17:28 | 0:17:32 | |
Unfortunately, it was loaded with books, which made it very heavy. | 0:17:32 | 0:17:37 | |
It smacked him on the head, and he passed out unconscious, on live television. | 0:17:37 | 0:17:43 | |
So is the stricken star given immediate medical attention? | 0:17:48 | 0:17:51 | |
Oh, no. They picked him up and tossed him out of the window. | 0:17:54 | 0:17:57 | |
Those were the days. | 0:17:59 | 0:18:01 | |
Another one I marvel at if I ever catch him on anything, it's very rare you do, | 0:18:02 | 0:18:07 | |
because it's so strange, Max Wall. | 0:18:07 | 0:18:09 | |
Hee-hee-hee. Hello. | 0:18:09 | 0:18:12 | |
Like many of the early television entertainers, Max Wall started his career in the music halls. | 0:18:12 | 0:18:18 | |
His most memorable comic creation was Professor Wallofski. | 0:18:18 | 0:18:22 | |
"Good evening." That was all he said. | 0:18:24 | 0:18:28 | |
How did this exist as a thing that he could just come out and do? | 0:18:30 | 0:18:33 | |
But everyone just accepted it. | 0:18:33 | 0:18:35 | |
He would come out in those tights and that little frock coat | 0:18:35 | 0:18:38 | |
and just do strange little movements like a duck, paddling around on the stage. | 0:18:38 | 0:18:46 | |
It may seem bizarre today, but this act was so popular | 0:18:47 | 0:18:50 | |
that Max was still strutting his stuff well into his 70s and inspired many imitators. | 0:18:50 | 0:18:57 | |
Poor Michael Jackson wasn't a comedy figure at all, | 0:18:57 | 0:19:01 | |
but watching him, I am reminded of Max Wall. | 0:19:01 | 0:19:04 | |
It wasn't known as the Moonwalk in those days. Max Wall used to do it. | 0:19:06 | 0:19:10 | |
It was absolutely hysterically funny, I loved it. I would gladly watch it now. | 0:19:13 | 0:19:17 | |
But to think then, it was just accepted, then he'd leave. "Thank you very much, Max Wall." | 0:19:17 | 0:19:23 | |
But by far the most popular slapsticker on television in the '50s | 0:19:25 | 0:19:28 | |
was someone you've probably never heard of. | 0:19:28 | 0:19:31 | |
Ladies and gentlemen, boys and girls, I give you Mr Pastry. | 0:19:31 | 0:19:36 | |
Mr Pastry prepares to climb aboard, but not if his skis can help it. | 0:19:36 | 0:19:41 | |
Mr pastry was very big. | 0:19:43 | 0:19:45 | |
It was an event, when Mr Pastry was on the show. | 0:19:45 | 0:19:47 | |
Slapstick routines, falling over... | 0:19:47 | 0:19:51 | |
elaborate... | 0:19:51 | 0:19:53 | |
business with chairs. | 0:19:53 | 0:19:55 | |
He could spin out 20 minutes with a deck chair. | 0:19:56 | 0:20:00 | |
The character Mr Pastry was created by Richard Hearne. | 0:20:03 | 0:20:06 | |
He was so popular that Hearne was offered the part of Dr Who. | 0:20:06 | 0:20:10 | |
He blew it by insisting he play the part in the character of Mr Pastry. | 0:20:10 | 0:20:14 | |
He may have regretted this later as his career faded into the obscurity of kids' TV. | 0:20:14 | 0:20:18 | |
But now he's ready to start again. | 0:20:18 | 0:20:21 | |
There was a time in the '50s when it seemed slapstick could only be found in cartoons and on children's TV. | 0:20:25 | 0:20:31 | |
Character-based comedy was in and slapstick was seen as juvenile and unsophisticated. | 0:20:31 | 0:20:36 | |
That's the thing about slapstick. | 0:20:36 | 0:20:38 | |
Some misguided fools dismiss it as just for kids. | 0:20:38 | 0:20:42 | |
Whoa! | 0:20:43 | 0:20:44 | |
I think it's quite a negative response that most people have to the word slapstick. | 0:20:48 | 0:20:52 | |
I think the common perception is that it's simplistic, that it's not intelligent. | 0:20:52 | 0:20:56 | |
I expect there are people who think slapstick is stupid. | 0:20:56 | 0:20:59 | |
"It's stupid, daft humour. | 0:20:59 | 0:21:00 | |
-"Anyone can do it." -The audience tend to see slapstick as, "That's just people messing about," | 0:21:00 | 0:21:06 | |
and verbal comedy was quite clever. | 0:21:06 | 0:21:07 | |
Sometimes people say that slapstick is childish. | 0:21:13 | 0:21:16 | |
Yeah, it's basic, it's simple, it's people falling over and getting hurt. | 0:21:16 | 0:21:21 | |
But it's got to be funny, as well. | 0:21:21 | 0:21:24 | |
It's childLIKE, which is a very different thing. | 0:21:24 | 0:21:27 | |
There's a childish joy in the execution of it and in that childish joy, you see the character revealed. | 0:21:28 | 0:21:34 | |
What do you think you're doing? | 0:21:35 | 0:21:37 | |
Child one will hit child two and then child two will hit child one. | 0:21:37 | 0:21:41 | |
Then the bigger one will chase the smaller one and the smaller one will try to find somewhere to hide. | 0:21:41 | 0:21:45 | |
Then you grow up and you learn self-control and not to do that, | 0:21:45 | 0:21:48 | |
but I think that's still your instinctive response, still what you want to do. | 0:21:48 | 0:21:52 | |
Or is it just me? | 0:21:52 | 0:21:54 | |
By the end of the '50s, slapstick on television was in the doldrums. | 0:21:57 | 0:22:02 | |
But the next generation of comedians will prove | 0:22:02 | 0:22:05 | |
that visual comedy was anything but childish. | 0:22:05 | 0:22:09 | |
It all started in the most unexpected place - | 0:22:09 | 0:22:12 | |
the wireless. | 0:22:12 | 0:22:14 | |
-Help me get this piano back to England. -It's too heavy. | 0:22:15 | 0:22:18 | |
I have an idea, we'll saw the legs off. | 0:22:18 | 0:22:21 | |
SAWING | 0:22:21 | 0:22:23 | |
There. I've sawn off all four legs. | 0:22:34 | 0:22:37 | |
That's strange, the first time I've known of a piano with four legs. | 0:22:37 | 0:22:41 | |
Hey, I keep falling down! | 0:22:41 | 0:22:44 | |
The Goons were Michael Bentine, Spike Milligan, Peter Sellers and Harry Secombe. | 0:22:49 | 0:22:54 | |
They pioneered the use of surreal humour, puns, catchphrases and an array of bizarre sound effects | 0:22:54 | 0:23:00 | |
to convey a world where slapstick could exist, even when it was unseen. | 0:23:00 | 0:23:04 | |
It was radio slapstick, and it was so new at its time that a different generation, my parents' generation, | 0:23:06 | 0:23:12 | |
were completely left cold by it. | 0:23:12 | 0:23:14 | |
They pioneered new areas for comedy. | 0:23:14 | 0:23:18 | |
-Constable, how would you like to join the River Police? -I'd like that very much. | 0:23:19 | 0:23:24 | |
SPLASH | 0:23:24 | 0:23:25 | |
-Thank you very much. -The radio lets your imagination run riot | 0:23:27 | 0:23:30 | |
and everyone got their own particular picture of what's going on. | 0:23:30 | 0:23:33 | |
You hear the sound effect - an almighty splash - and Harry Secombe is pulled out, spluttering, to say, | 0:23:33 | 0:23:40 | |
"That water was taller than me." | 0:23:40 | 0:23:44 | |
And then the voice saying, "Well, it's older, that's why!" | 0:23:44 | 0:23:47 | |
Wait! What fools we are. How are we going to get the raft across? The river's full of water. | 0:23:49 | 0:23:55 | |
Well, it's quite simple, build a bridge and carry it across. | 0:23:55 | 0:23:59 | |
The Goons, I mean, they prove, on radio, that the pen is mightier than the budget. | 0:23:59 | 0:24:04 | |
The surreal slapstick invented by The Goons | 0:24:10 | 0:24:13 | |
was to prove hugely inspirational to a new generation of comedians. | 0:24:13 | 0:24:16 | |
Slapstick may never have been considered the most intellectual form of entertainment, | 0:24:16 | 0:24:21 | |
but its new champions were about to graduate from the hallowed halls of Oxford and Cambridge universities. | 0:24:21 | 0:24:27 | |
Monty Python, Monty Python, Monty Python. | 0:24:29 | 0:24:33 | |
Monty Python's Flying Circus first appeared on our televisions in October 1969. | 0:24:33 | 0:24:39 | |
For those of you living under a rock, it was a hugely influential sketch show. | 0:24:39 | 0:24:44 | |
Though unlike anything that had been seen before, the Pythons... | 0:24:44 | 0:24:48 | |
They say "Python," don't they? "Python." | 0:24:48 | 0:24:50 | |
Yes, the Pythons were very well aware of the slapstick tradition. | 0:24:50 | 0:24:54 | |
Uh-oh, there it is. All over his face. | 0:24:54 | 0:24:57 | |
They were playing in fresh virgin snow. | 0:24:57 | 0:25:01 | |
It was the dawn of an age, they were doing something before anyone else had done it, | 0:25:01 | 0:25:05 | |
they really knew their comedy history and there's a great love of comedy there, as well. | 0:25:05 | 0:25:10 | |
And I love the slapstick stuff in it. | 0:25:10 | 0:25:12 | |
Surely nothing can go wrong here. | 0:25:12 | 0:25:15 | |
Uh-oh, here's the PM coming back for more. | 0:25:15 | 0:25:19 | |
And he certainly gets it. | 0:25:19 | 0:25:20 | |
This kind of surreal, quite cerebral comedy, with this amazing slapstick. | 0:25:20 | 0:25:27 | |
There's a misconception, really, that slapstick comedy is a basic crude form of visual humour. | 0:25:30 | 0:25:36 | |
What Monty Python bring to visual comedy is sharp intellect and surrealism. | 0:25:38 | 0:25:45 | |
And that elevates the humour, and I think that's why, 40 years on, | 0:25:48 | 0:25:51 | |
people are still looking back at a show like Monty Python, because it has that level of sophistication. | 0:25:51 | 0:25:57 | |
The earliest forms of jape were divisible | 0:25:57 | 0:26:00 | |
into the two categories into which I now intend to divide them. | 0:26:00 | 0:26:03 | |
And if there is a gag, like a banana skin gag or a plank gag or a custard pie gag, | 0:26:07 | 0:26:13 | |
there are always ways that the artist, if they are interesting enough, will want to top it. | 0:26:13 | 0:26:18 | |
HE CLEARS HIS THROAT | 0:26:20 | 0:26:22 | |
Monty Python went global with their clever take on slapstick. | 0:26:22 | 0:26:25 | |
They even did it live, and sold out the Hollywood Bowl. | 0:26:29 | 0:26:33 | |
It had all the cosy slapstick ingredients, taking the chair away, | 0:26:42 | 0:26:47 | |
the custard pies, even the plank, | 0:26:47 | 0:26:51 | |
but it was the way it was delivered, in this kind of donnish, academic way. | 0:26:51 | 0:26:56 | |
A certain amount of risibility is to be obtained from the surprise. | 0:26:56 | 0:27:01 | |
Hey, Vance! | 0:27:06 | 0:27:07 | |
The Pythons' irreverent humour was very much in keeping with the spirit of the times. | 0:27:18 | 0:27:23 | |
Short skirts, protests and sticking it to the man were in, | 0:27:23 | 0:27:26 | |
but slapstick comedy had been doing that sort of thing for years, except maybe for the short skirts bit. | 0:27:26 | 0:27:33 | |
It's the rebellious thing of comedy. | 0:27:36 | 0:27:38 | |
You're always anti-authoritarian, so it's always got to be the headmaster, the chief constable, | 0:27:38 | 0:27:43 | |
the policeman, of course. It's an absolute comedy basic. | 0:27:43 | 0:27:46 | |
The authority figure, they're gonna get hit. | 0:27:46 | 0:27:49 | |
The basic thing is always the same. | 0:27:50 | 0:27:53 | |
If somebody is too big for their boots, they get their comeuppance, | 0:27:53 | 0:27:56 | |
and I think that's a mark of the quality of good comedy through the ages. | 0:27:56 | 0:28:02 | |
It's hugely moral, so it's a very reassuring universe, | 0:28:02 | 0:28:07 | |
where the little guy wins, the little guy beats the big guy. | 0:28:07 | 0:28:10 | |
The underdog wins, and justice is done. | 0:28:10 | 0:28:14 | |
It's all about the maximum dive from... | 0:28:15 | 0:28:18 | |
pride to humiliation, isn't it? | 0:28:18 | 0:28:21 | |
That's what makes a joke funnier. | 0:28:21 | 0:28:23 | |
The comic is basically saying, "I am you, wouldn't you like to kick a cop up the backside in real life?" | 0:28:29 | 0:28:37 | |
And you never would, but they do. | 0:28:37 | 0:28:41 | |
Monty Python kick-started a new type of slapstick in the '70s and soon everyone was at it. | 0:28:44 | 0:28:49 | |
Whether it was in sitcom, sketch shows, entertainment | 0:28:49 | 0:28:52 | |
or game shows, slapstick was once again the height of fashion. | 0:28:52 | 0:28:56 | |
The Pythons' old college mates, Graeme Garden, Bill Oddie and Tim Brooke-Taylor were no exception. | 0:28:56 | 0:29:02 | |
# Goodies... # | 0:29:02 | 0:29:04 | |
-They were to band together and create a comedy trio unlike any other. -Goodie, Goodie, Goodie! | 0:29:04 | 0:29:08 | |
And they were good...very good. | 0:29:08 | 0:29:11 | |
They were The Goodies, and they would do anything, anywhere, anytime. | 0:29:11 | 0:29:16 | |
And they had a little bit of something for everyone. | 0:29:18 | 0:29:21 | |
People would sit down, literally all the generations together, and watch the show. | 0:29:21 | 0:29:26 | |
There would be parents and kids and even granny would come down and enjoy a bit of it, too. | 0:29:26 | 0:29:31 | |
All this was served up in a slightly surreal and very silly format. | 0:29:37 | 0:29:42 | |
Watching The Goodies, I just remember trying to understand what was going on. | 0:29:48 | 0:29:52 | |
I suppose it is a sort of shamelessness about the artifice of slapstick. | 0:29:59 | 0:30:04 | |
They were very much in the tradition and they really admired the old greats. | 0:30:14 | 0:30:20 | |
They had huge budgets and the stunts they performed were quite impressive really, for their time. | 0:30:28 | 0:30:33 | |
I think, more than anybody else, The Goodies, for what was more than 10 years, | 0:30:45 | 0:30:50 | |
were producing prime-time television that included this visual, slapstick comedy. | 0:30:50 | 0:30:56 | |
They're hugely underrated today and undervalued for their work. | 0:30:56 | 0:31:00 | |
The stigma that the show is still saddled with is that people think, "That was a kids' show." | 0:31:16 | 0:31:21 | |
People often say that John Cleese dismissed The Goodies as a kids' programme. | 0:31:26 | 0:31:30 | |
He did in one episode where he appeared and shouted "Kids' programme" at us. | 0:31:30 | 0:31:34 | |
Kids' programme! | 0:31:35 | 0:31:38 | |
But we wrote that... | 0:31:38 | 0:31:40 | |
And we filmed him doing it. | 0:31:40 | 0:31:41 | |
So it wasn't necessarily his own view. | 0:31:41 | 0:31:44 | |
That is something adults and children can share. | 0:31:44 | 0:31:47 | |
You know, chases and people smacking each other over the head, you can both laugh. | 0:31:47 | 0:31:50 | |
Ahh! | 0:31:53 | 0:31:55 | |
Ahh! | 0:31:56 | 0:31:57 | |
Slapstick was perfect family entertainment | 0:32:00 | 0:32:03 | |
and the most-watched double act of the '70s even became a bit partial. | 0:32:03 | 0:32:07 | |
# Bring me sunshine in your smile... # | 0:32:07 | 0:32:11 | |
Morecambe and Wise, beloved of grannies and kiddies alike, | 0:32:11 | 0:32:15 | |
thrilled millions with a slapstick routine that remains a firm favourite. | 0:32:15 | 0:32:19 | |
MUSIC: "The Stripper" by David Rose | 0:32:19 | 0:32:21 | |
That was a masterpiece of comedy. | 0:32:24 | 0:32:27 | |
A combination of the silent films and modern comedy. | 0:32:27 | 0:32:32 | |
Eric Morecambe, the way he moved his body was funny and he knew that. | 0:32:39 | 0:32:44 | |
He knew how to do it and he knew how to use it as a flourish on the end of jokes. | 0:32:44 | 0:32:49 | |
And it was impeccable timing, slapstick at its very best. | 0:32:56 | 0:33:01 | |
I defy anybody, whatever their favourite comic is, not to laugh at that scene. | 0:33:07 | 0:33:11 | |
This was the golden age of television slapstick. | 0:33:15 | 0:33:18 | |
Audiences lapped it up. | 0:33:18 | 0:33:20 | |
But when it came to pure slapstick, Frank Spencer was out on his own. | 0:33:20 | 0:33:25 | |
Some Mothers Do 'Ave 'Em featured some of the biggest and most dangerous antics | 0:33:32 | 0:33:36 | |
ever seen in British comedy. | 0:33:36 | 0:33:38 | |
Like Buster Keaton before him, Michael Crawford insisted on performing his own stunts. | 0:33:40 | 0:33:45 | |
-'The fact that he actually did all those things himself...' -I ain't got no change! | 0:33:54 | 0:33:58 | |
..I loved it because you don't see that kind of peril and he would get himself into such scrapes. | 0:33:58 | 0:34:03 | |
Some great moments - his car ended up on a cliff edge, teetering, and he was screaming. | 0:34:10 | 0:34:16 | |
Just hold on to my legs. | 0:34:16 | 0:34:18 | |
Hold my feet. | 0:34:20 | 0:34:23 | |
-It's all right, Frank, I've got you... -Hold on! -Yes! | 0:34:25 | 0:34:28 | |
It's rocking... | 0:34:31 | 0:34:32 | |
Careful. | 0:34:37 | 0:34:39 | |
Frank! | 0:34:42 | 0:34:44 | |
Frank! | 0:34:45 | 0:34:47 | |
Frank! | 0:34:48 | 0:34:51 | |
What shall I do?! | 0:34:51 | 0:34:52 | |
-Betty! -Yes! | 0:34:52 | 0:34:55 | |
Such an iconic, slapstick role, he was quite clearly very talented. | 0:34:56 | 0:35:01 | |
It's a legendary character now. | 0:35:01 | 0:35:03 | |
I remember being so frightened always of what he would get himself into | 0:35:20 | 0:35:25 | |
and fearful of how angry he made people get about him, "Mr Spencer!" | 0:35:25 | 0:35:30 | |
I used to feel so sorry for him and get upset because he just made it worse. Maybe that was the point. | 0:35:30 | 0:35:37 | |
A saviour who is Christ... | 0:35:38 | 0:35:40 | |
Not that big one! | 0:35:40 | 0:35:43 | |
Michael Crawford seemed to take slapstick to new heights. | 0:35:53 | 0:35:56 | |
But by the end of the '70s, its popularity seemed to dwindle. | 0:35:56 | 0:36:00 | |
It could still be found in the increasingly saucy shenanigans of Benny Hill | 0:36:00 | 0:36:04 | |
but there was a sense that change was needed. | 0:36:04 | 0:36:07 | |
Slapstick seemed to have stalled, | 0:36:08 | 0:36:09 | |
but the '80s would see a new breed of alternative comedian rise up | 0:36:09 | 0:36:13 | |
to give it a boot up the backside. | 0:36:13 | 0:36:15 | |
When the alternative comedy movement started, we were filling this enormous vacuum | 0:36:16 | 0:36:21 | |
and so we were defining an art form, really. | 0:36:21 | 0:36:24 | |
We were inventing modern comedy and so you have a tremendous freedom. | 0:36:24 | 0:36:28 | |
In the same way that the Pythons' surreal brand of humour | 0:36:35 | 0:36:38 | |
was a reaction to what was happening in society during the '60s and '70s, | 0:36:38 | 0:36:42 | |
the alternative comedy of the '80s was a product of its time. | 0:36:42 | 0:36:46 | |
Britain was a politically-divided country and was experiencing the sort of changes | 0:36:46 | 0:36:50 | |
that would have repercussions for years. | 0:36:50 | 0:36:53 | |
# I fought the law but the law won | 0:36:53 | 0:36:55 | |
# I fought the law but the law won | 0:36:55 | 0:36:58 | |
# Well, I fought the law and the... # | 0:36:58 | 0:37:00 | |
One egg hit Mrs Thatcher squarely on the chest. | 0:37:00 | 0:37:02 | |
More eggs and also tomatoes, ice-cream and butter rained down on her entourage. | 0:37:02 | 0:37:07 | |
We had a great enemy, Margaret Thatcher... | 0:37:09 | 0:37:12 | |
..amazingly powerful causes to identify with, | 0:37:13 | 0:37:16 | |
very tangible causes, | 0:37:16 | 0:37:18 | |
so it was a gift, really, for creative expression. | 0:37:18 | 0:37:21 | |
This new comedy may have been called alternative, | 0:37:21 | 0:37:24 | |
but these young guns realised the truly anarchic appeal of slapstick. | 0:37:24 | 0:37:27 | |
-Missed me, virgin! -I'm not a virgin. I am not a virgin! | 0:37:27 | 0:37:31 | |
Hey, I just heard something amazingly heavy on the radio. | 0:37:31 | 0:37:34 | |
The slapstick in the Young Ones reflected a time, it was in a dirty flat... | 0:37:34 | 0:37:38 | |
you know, student life, expressing themselves through anger and physicality | 0:37:38 | 0:37:44 | |
and just a lot of hostility and shouting... | 0:37:44 | 0:37:47 | |
..and just anarchy. | 0:37:49 | 0:37:50 | |
Oh, wow. | 0:37:50 | 0:37:51 | |
At the heart of the Young Ones | 0:37:51 | 0:37:53 | |
was the extreme, often brutal, physical slapstick of Rik Mayall and Adrian Edmondson. | 0:37:53 | 0:37:58 | |
-Come on! -Whoa! | 0:37:58 | 0:38:00 | |
They were fearless, really. There was very little health and safety. | 0:38:01 | 0:38:05 | |
The set was always catching fire. They were pretty lax about it. | 0:38:05 | 0:38:10 | |
Vyvyan! | 0:38:10 | 0:38:12 | |
That scene when he goes down the stairs, he just did that. He's not on a wire or anything. | 0:38:12 | 0:38:17 | |
It was pretty dangerous, really. | 0:38:21 | 0:38:24 | |
Certainly, Rik, he got cuts and bruises and stuff quite frequently. | 0:38:24 | 0:38:29 | |
Pay attention because we'll be back after this break. | 0:38:29 | 0:38:33 | |
Ahh! | 0:38:33 | 0:38:35 | |
At the time, some were appalled at the violence in the show. | 0:38:35 | 0:38:37 | |
But, for fans of slapstick, it wasn't anything new. | 0:38:37 | 0:38:41 | |
So, what's the difference between this sort of violence and the violence of say, a Tarantino? | 0:38:41 | 0:38:46 | |
You know they recover immediately. | 0:38:46 | 0:38:48 | |
They get bashed on the head | 0:38:48 | 0:38:50 | |
with a lump of rock and they get up straight away. | 0:38:50 | 0:38:53 | |
So we know it is safe, absolutely safe. | 0:38:53 | 0:38:55 | |
-Calm! -Calm! -Calm! -Calm! -Calm! -Calm! -Calm! | 0:38:55 | 0:38:58 | |
It's almost like you can watch that violence and you know it's not a film | 0:38:58 | 0:39:03 | |
where people are getting their heads blown off, which might be unsavoury. | 0:39:03 | 0:39:06 | |
We have to know its artificial, "It's safe to laugh at this." | 0:39:07 | 0:39:11 | |
Even mindless violence seems boring today. | 0:39:14 | 0:39:18 | |
Unless it's real blood or something like that, then it soon changes. | 0:39:18 | 0:39:21 | |
It has got its limits. | 0:39:21 | 0:39:23 | |
Those limits were pressed to the max when Rik and Ade created Bottom. | 0:39:26 | 0:39:30 | |
In this series, a character wouldn't just get hit with a frying-pan, they might get hit with a frying pan, | 0:39:30 | 0:39:34 | |
thrown through a wall, chucked down the stairs and set on fire. | 0:39:34 | 0:39:38 | |
I loved the violence in it, that's why I watched and that's why I suppose millions of people did watch, | 0:39:45 | 0:39:51 | |
to see that fabulous violence that was going on in there. | 0:39:51 | 0:39:54 | |
They just weren't censored. They were boys. It is very boys-y. | 0:39:54 | 0:40:01 | |
Eddie, you've killed him. | 0:40:01 | 0:40:03 | |
But is it possible to take slapstick violence too far? | 0:40:04 | 0:40:07 | |
I found Bottom a little bit too much. | 0:40:10 | 0:40:13 | |
It was all just frying pans on heads | 0:40:13 | 0:40:16 | |
and I found it a bit tiring after a bit. | 0:40:16 | 0:40:19 | |
A bit too relentless. | 0:40:19 | 0:40:20 | |
-Stop messing about. -'It was too shouty for me. I did actually find it abrasive.' | 0:40:20 | 0:40:26 | |
I always had this idea that they'd be doing that stuff when they were 90. | 0:40:27 | 0:40:32 | |
"You bastard!" | 0:40:32 | 0:40:35 | |
"Eddie!" | 0:40:35 | 0:40:37 | |
Eventually, those young upstarts would be recognised by the mainstream | 0:40:38 | 0:40:41 | |
and they've even got the gongs to prove it. | 0:40:41 | 0:40:44 | |
I won an International Emmy and the first I knew about it was when my mother-in-law rang me up. | 0:40:44 | 0:40:49 | |
It was on Channel 4 News, footage of Benny Hill picking up my award in New York. | 0:40:49 | 0:40:56 | |
I think they thought... | 0:40:56 | 0:40:58 | |
maybe they thought we all lived together in a big house, Me, Benny, Ben Elton, | 0:40:58 | 0:41:05 | |
Rik, Bruce Forsyth and he'd give it to me when I saw him at breakfast! | 0:41:05 | 0:41:10 | |
By the end of the '80s, just about everyone was ready for a change. | 0:41:22 | 0:41:25 | |
There was a new spirit of optimism in Britain and that was reflected in every aspect of culture and society. | 0:41:27 | 0:41:33 | |
Britpop had arrived, football came home and people were paying a fortune for pickled sheep. | 0:41:33 | 0:41:39 | |
# Dizzy! I'm so dizzy My head is spinning... # | 0:41:39 | 0:41:45 | |
In comedy, people were looking for an alternative to the... alternative. | 0:41:45 | 0:41:51 | |
What they got was colourful, joyous and really rather silly. | 0:41:51 | 0:41:55 | |
And guess what the hippest, newest form of comedy was. Go on, guess. | 0:42:00 | 0:42:05 | |
There. | 0:42:10 | 0:42:12 | |
Vic and Bob were the new cool kids on the comedy block. | 0:42:12 | 0:42:15 | |
And they were slapstick to the core. | 0:42:15 | 0:42:17 | |
Ha-ha-ha! | 0:42:23 | 0:42:24 | |
-Ha-ha! -OW! Whoa! | 0:42:24 | 0:42:26 | |
I think Bob and me just both loved slapstick and when we came together | 0:42:27 | 0:42:33 | |
it was the love of slapstick that we wanted to put on television. | 0:42:33 | 0:42:37 | |
We took slapstick to new levels. | 0:42:44 | 0:42:46 | |
Suddenly, there was an eruption of silliness and slapstick | 0:42:49 | 0:42:52 | |
and hitting each other and things falling on people's heads | 0:42:52 | 0:42:55 | |
and everything. I thought that was joyful. | 0:42:55 | 0:42:58 | |
What I love about Vic and Bob is just the silliness. | 0:42:59 | 0:43:03 | |
It is the silliness that provides the escapism for people. | 0:43:06 | 0:43:10 | |
Vic and Bob have taken comedy inside out, really. | 0:43:11 | 0:43:14 | |
They go about it with such gusto and such lack of reason, | 0:43:14 | 0:43:20 | |
you've just got to giggle. | 0:43:20 | 0:43:22 | |
-Hey, you! -Who, me? -Yes, you. | 0:43:22 | 0:43:26 | |
Are you brutally pounding that man in the face with an iron pan? | 0:43:26 | 0:43:30 | |
-Yes. -Are you aware that such behaviour can lead to permanent damage? | 0:43:30 | 0:43:34 | |
-No. -Well, it can. Just look at the state of that pan. It's ruined. | 0:43:34 | 0:43:40 | |
Their violence was cartoon-like and there would be that brilliant sound effect that just went on and on, | 0:43:40 | 0:43:45 | |
just for that slightly too long thing when it almost becomes not funny | 0:43:45 | 0:43:48 | |
then it starts to be funny again because it's not stopping. | 0:43:48 | 0:43:51 | |
Just unjustified violence. | 0:43:54 | 0:43:57 | |
There's no reason for it. It was almost like we enjoy doing it. | 0:43:59 | 0:44:03 | |
When WE hit each other, we do actually hit each other and we have got the scars to prove it. | 0:44:03 | 0:44:09 | |
Bob has especially got beaten quite badly and knocked himself out and what not. | 0:44:11 | 0:44:17 | |
That, again, that is like the Laurel and Hardy way of doing slapstick. | 0:44:17 | 0:44:21 | |
You allow yourself to be battered. | 0:44:21 | 0:44:24 | |
While it seemed we had never seen anything like Vic and Bob, | 0:44:26 | 0:44:29 | |
in their comedy, you can see the influence of a century of slapstick. | 0:44:29 | 0:44:33 | |
In the mix is a dollop of Laurel and Hardy, | 0:44:33 | 0:44:36 | |
a pinch of Tati, | 0:44:36 | 0:44:37 | |
a generous helping of Morecambe and Wise | 0:44:37 | 0:44:41 | |
and a smattering of Bottom, if you'll pardon the expression. | 0:44:41 | 0:44:45 | |
There's even a dash of Max Wall. | 0:44:45 | 0:44:47 | |
Yummy. All stirred together in, what else? | 0:44:47 | 0:44:52 | |
A massive frying-pan. | 0:44:52 | 0:44:55 | |
We like to leave ragged edges. | 0:45:00 | 0:45:02 | |
To see my hand just... We could've done it again | 0:45:02 | 0:45:07 | |
and I think the director probably would've said, "I saw you caught your hand there, do it again," | 0:45:07 | 0:45:11 | |
and we would've said, "No, just leave that in." Because that's probably better than the joke itself. | 0:45:11 | 0:45:18 | |
Vic, please. Oh, Vic, I admit it, I am incontinent. | 0:45:18 | 0:45:21 | |
What have I done? | 0:45:21 | 0:45:24 | |
It almost makes you, the viewer, with us on it, you know. | 0:45:25 | 0:45:30 | |
I think that's one of the key things about slapstick, you have to be in with the attacker. | 0:45:32 | 0:45:38 | |
You've got to be matey with them. | 0:45:38 | 0:45:39 | |
And 20 years after they first started out, Vic and Bob are still at it. | 0:45:39 | 0:45:44 | |
-I see you've got a frying pan, Vic? -Yes. | 0:45:44 | 0:45:46 | |
The celebrity showbiz quiz. You're going to hit me with it, aren't you? | 0:45:46 | 0:45:49 | |
-Yes. -Anyway, well we look forward to that, won't we, ladies and gentlemen? | 0:45:49 | 0:45:53 | |
In the last series of Shooting Stars, I stuck a pump up Bob's jacksie and pumped his head up. | 0:45:56 | 0:46:04 | |
AIR PUMPING | 0:46:04 | 0:46:06 | |
We were trying to be as slapstick as we possibly could. We took it to the extremes. | 0:46:16 | 0:46:23 | |
The pure slapstick of Reeves and Mortimer rekindled our love of buffoonery. | 0:46:28 | 0:46:33 | |
But slapstick was a fickle mistress. | 0:46:36 | 0:46:38 | |
As the new millennium dawned, there were many more admirers lining up. | 0:46:38 | 0:46:42 | |
She got Lee Evans all hot and bothered... | 0:46:43 | 0:46:47 | |
What Lee brings to it is... this huge physical presence. | 0:46:47 | 0:46:53 | |
The way he uses his body, he's very unusual and it's very extreme, as well. | 0:46:53 | 0:46:57 | |
But it wasn't just men who courted her charms. The Absolutely Fabulous Jennifer Saunders and Joanna Lumley | 0:47:00 | 0:47:06 | |
provided some hot girly action. | 0:47:06 | 0:47:08 | |
What the hell? | 0:47:08 | 0:47:09 | |
-Pig. What do you want? -'Somebody being drunk is funny.' | 0:47:11 | 0:47:16 | |
Joanna Lumley does drunk, well, sublimely well. | 0:47:16 | 0:47:20 | |
She's sick. | 0:47:20 | 0:47:22 | |
They just went for it, giving full rein to the extremities of a character, | 0:47:23 | 0:47:28 | |
which is what slapstick is and Ab Fab embraced it. | 0:47:28 | 0:47:32 | |
But this temptress was fooling around with all new comics on the scene | 0:47:33 | 0:47:37 | |
and, with scant regard for how long a metaphor could be stretched, | 0:47:37 | 0:47:40 | |
Simon Pegg also fell head over heels for her. | 0:47:40 | 0:47:44 | |
I think Simon Pegg is one of the all time, | 0:47:55 | 0:47:57 | |
maybe not all time, yeah, no, no, the all-time greats. | 0:47:57 | 0:48:00 | |
He's really good. Really good at falling over | 0:48:00 | 0:48:02 | |
and really good at being smacked. | 0:48:02 | 0:48:04 | |
As one slapstick century ended and another began, perhaps the most twisted twist in the slapstick story | 0:48:06 | 0:48:12 | |
came from the small village of Royston Vasey. | 0:48:12 | 0:48:15 | |
-Good journey? -Er, passable. Rather long. -Well, quicker to cycle, I say. | 0:48:15 | 0:48:18 | |
The League of Gentlemen, with their love of physical comedy | 0:48:18 | 0:48:21 | |
and British horror, took us to a somewhat darker side of slapstick. | 0:48:21 | 0:48:25 | |
Now then, lad... | 0:48:27 | 0:48:29 | |
We'd created Dr Chinnery, who was such a slapstick kind of character | 0:48:29 | 0:48:34 | |
cos he's a well-meaning vet... | 0:48:34 | 0:48:36 | |
who kills every animal that he treats. | 0:48:36 | 0:48:38 | |
I fear a serious bowel disorder has been precipitated. | 0:48:38 | 0:48:42 | |
I'm going to have to perform... | 0:48:42 | 0:48:46 | |
a rectal examination. | 0:48:46 | 0:48:48 | |
Ooh! Ooh, you brave little soldier! | 0:48:48 | 0:48:53 | |
There, there we go. | 0:48:53 | 0:48:55 | |
-Poor little Batley. -I think you'll find he's a little more robust than you give him credit for. | 0:49:01 | 0:49:07 | |
SQUELCHING | 0:49:07 | 0:49:09 | |
PFFRT! | 0:49:09 | 0:49:11 | |
Slapstick's not just Laurel and Hardy and a routine where their hats fall off. | 0:49:19 | 0:49:23 | |
But I love that equally, but it does bleed into a lot of types of comedy. | 0:49:23 | 0:49:27 | |
Slapstick in the 21st century was in demand, but becoming more and more difficult to pull off. | 0:49:35 | 0:49:40 | |
It was expensive and it could be dangerous. | 0:49:40 | 0:49:42 | |
The daring stunts of Keaton, Michael Crawford and even Rik and Ade were long gone. | 0:49:42 | 0:49:47 | |
Health and safety were the new double act in town. | 0:49:47 | 0:49:51 | |
Now it's like... | 0:49:55 | 0:49:58 | |
crews have to wear fluorescent jackets and all that kind of stuff. | 0:49:58 | 0:50:04 | |
There was none of that then. | 0:50:04 | 0:50:06 | |
I suppose we shall just have to cook our own supper. | 0:50:06 | 0:50:09 | |
The bit where Rik lights a stove and then it blows up and it goes into slow motion... | 0:50:14 | 0:50:18 | |
It looks arty, but in fact that's only because there was too much explosive in the cooker | 0:50:18 | 0:50:23 | |
and there's only those five or six frames of tape before the camera caught fire. | 0:50:23 | 0:50:27 | |
It just wouldn't happen now. | 0:50:29 | 0:50:31 | |
For any little trip or fall you have to do, nowadays with health and safety... | 0:50:31 | 0:50:37 | |
Oh, no! | 0:50:37 | 0:50:38 | |
We did a reunion show of The Goodies and they found one of the three-seater bicycles, | 0:50:40 | 0:50:44 | |
which we hated. | 0:50:44 | 0:50:46 | |
I thought, "Oh, they're going to make us ride it." | 0:50:46 | 0:50:49 | |
But they said, "Whatever you do, don't get on the bike cos we can't insure you." | 0:50:49 | 0:50:52 | |
I said, "Well, that's 30 years too late, isn't it?" | 0:50:52 | 0:50:55 | |
When it came to dangerous stunts, Nanny said no. | 0:50:56 | 0:50:59 | |
But people still crave those big slapstick laughs. | 0:50:59 | 0:51:02 | |
So, who would fill the void at the start of the new millennium? | 0:51:02 | 0:51:05 | |
Well, er....you. | 0:51:05 | 0:51:08 | |
Reality was the next big thing and the new slapstick star was Joe Public. | 0:51:08 | 0:51:12 | |
People were laughing at their own madcap antics. | 0:51:18 | 0:51:20 | |
Being real made the slapstick even funnier. | 0:51:20 | 0:51:23 | |
I've seen one on YouTube where a woman comes with a birthday cake, gets out of the car and then, | 0:51:29 | 0:51:34 | |
for the character involved in the centre of it, it's life and death. | 0:51:34 | 0:51:38 | |
She's not worried about the cake. | 0:51:38 | 0:51:40 | |
She's worried about breaking her neck. | 0:51:40 | 0:51:42 | |
-Behind the camera, Mum! -Ah! | 0:51:42 | 0:51:43 | |
That's where the laughs are, I think. It's in that human reaction. | 0:51:54 | 0:51:58 | |
I think that's always what it's about. | 0:51:58 | 0:52:01 | |
-The rings, please. -But some of it wasn't quite what it seemed. | 0:52:01 | 0:52:05 | |
Oh God. No! | 0:52:05 | 0:52:07 | |
There's one with the bride falling into the water. I just think it's hilarious. | 0:52:09 | 0:52:13 | |
I've laughed every time I've seen it. | 0:52:13 | 0:52:15 | |
This clip fooled millions of people, but turned out to be fake. | 0:52:15 | 0:52:19 | |
So, slapstick has almost come full circle and reminiscent of those first public screenings | 0:52:21 | 0:52:26 | |
by the Lumiere brothers, today's pioneers of slapstick are exploring new frontiers. | 0:52:26 | 0:52:33 | |
Some of it looks really painful. | 0:52:33 | 0:52:35 | |
You think, "God, I think they've really hurt their heads." | 0:52:35 | 0:52:37 | |
I think it's maybe seeing the situation and knowing instantly, "Oh God, I can see what's coming." | 0:52:37 | 0:52:42 | |
You just don't quite know when. | 0:52:42 | 0:52:44 | |
We still love to see people take a tumble, as millions of people prove | 0:52:45 | 0:52:48 | |
every Saturday night by tuning in to see You've Been Framed, Hole In The Wall and Total Wipeout. | 0:52:48 | 0:52:54 | |
Total Wipeout is slapstick. | 0:52:54 | 0:52:57 | |
That's a big, big slapstick show. We all still love and adore slapstick. | 0:52:57 | 0:53:01 | |
It's just kind of, | 0:53:01 | 0:53:02 | |
it's moved out of scripted comedy slightly and into other areas. | 0:53:02 | 0:53:06 | |
On your average Saturday night, you've got Hole In The Wall. | 0:53:06 | 0:53:10 | |
You can certainly get your fill of it on a Saturday night. | 0:53:13 | 0:53:17 | |
As we've seen throughout the story of slapstick, it has a way of reinventing itself. | 0:53:22 | 0:53:27 | |
Today, a whole new generation are finding new ways of performing the same old gags. | 0:53:30 | 0:53:35 | |
Yeah...working it... 'Oh, look. | 0:53:35 | 0:53:37 | |
'It's me. Oh, isn't that marvellous?' | 0:53:37 | 0:53:39 | |
It's all about the recovery, isn't it? | 0:53:42 | 0:53:44 | |
It's kind of strange. Everything's coming round again and going back to slapstick. | 0:53:47 | 0:53:51 | |
You have to make it silly and you have to make it big and fun. | 0:53:51 | 0:53:54 | |
I've seen We Are Klang and I know people say it's kind of The Goodies. | 0:54:02 | 0:54:06 | |
Or it's the new Rik Mayall playing The Goodies. | 0:54:06 | 0:54:10 | |
-You never thought anyone would say that. -Pru, my love? | 0:54:10 | 0:54:12 | |
Mmm? What's that, Miranda? I can't hear you because I'm busy serving a customer. | 0:54:12 | 0:54:17 | |
"No, it's all right, my darling. I'll do it myself," said the little red hen. | 0:54:17 | 0:54:21 | |
Careful, Miranda. You'll hurt yourself. | 0:54:21 | 0:54:23 | |
-Excuse me? -No, don't worry. I'm fine. | 0:54:23 | 0:54:25 | |
I think I must have slipped on one of your rogue pieces of beetroot. | 0:54:25 | 0:54:29 | |
-Excuse me? -What? | 0:54:29 | 0:54:30 | |
Could I get another plate? This one's got something on it. | 0:54:30 | 0:54:33 | |
We prefer customers not to raise their voice when making complaints. | 0:54:33 | 0:54:36 | |
-Who's raising his voice? -I wasn't. -I won't be bothered. | 0:54:36 | 0:54:39 | |
-I don't know what you're talking about. -You need to calm down. -This is absurd. -It's kicking off, Pru. | 0:54:39 | 0:54:45 | |
Always for me, some of the funniest stuff that we get to do in the show, | 0:54:52 | 0:54:56 | |
is the slapstick and the visual comedy. I just love that. | 0:54:56 | 0:54:58 | |
Again, it's that laughter, that primitive thing that you get. | 0:54:58 | 0:55:02 | |
I think the comedy today is fantastic. | 0:55:11 | 0:55:14 | |
I don't have this longing for the past and thinking, "Weren't the silent days the best and fantastic?" | 0:55:14 | 0:55:20 | |
I just think it's extraordinary that what happened then and extraordinary | 0:55:20 | 0:55:23 | |
how that informs what's still happening today in comedy. | 0:55:23 | 0:55:26 | |
Slapstick may go in and out of fashion, but it will never go away. | 0:55:30 | 0:55:36 | |
We might have to look a little bit harder for it, but as long as it's in our nature to laugh | 0:55:36 | 0:55:40 | |
at the misfortunes of fellow human beings, slapstick will survive. | 0:55:40 | 0:55:44 | |
The humour of it, I suppose, is that underneath it all, we're the subject of these basic laws of gravity. | 0:55:47 | 0:55:53 | |
If you remove the feet from under somebody, they'll fall over. | 0:55:57 | 0:56:00 | |
Things like that. | 0:56:00 | 0:56:02 | |
You know, custard will stick. | 0:56:02 | 0:56:05 | |
I think it's really, really, really funny. | 0:56:07 | 0:56:10 | |
It always, always makes me laugh. | 0:56:10 | 0:56:11 | |
I think, I think I'm not alone. | 0:56:11 | 0:56:14 | |
I think there's a lot of people out there who also think it's hilarious. | 0:56:14 | 0:56:17 | |
They've just been driven underground. | 0:56:17 | 0:56:19 | |
It's just goes right to the heart, the very core of every human being. | 0:56:21 | 0:56:26 | |
You can't stop us doing slapstick, we love it. | 0:56:30 | 0:56:33 | |
So...it's in everything we do. You do get brutalised and it is knackering. | 0:56:33 | 0:56:39 | |
But it's like doing some Olympic challenge. | 0:56:39 | 0:56:42 | |
It's worth it in the long run. | 0:56:42 | 0:56:44 | |
So, there you have it. It doesn't matter if you're young or old, male or female | 0:56:49 | 0:56:54 | |
or where in the world you come from. | 0:56:54 | 0:56:56 | |
Slapstick comedy is universal. | 0:56:56 | 0:56:59 | |
It transcends language and culture. | 0:56:59 | 0:57:01 | |
But most important of all, it's, well, you know, funny. | 0:57:01 | 0:57:05 | |
-Ha, ha, ha... -# One, one, two, three, four... # | 0:57:10 | 0:57:14 | |
Ah! | 0:57:17 | 0:57:18 | |
# Nothing's gonna bring me down... | 0:57:25 | 0:57:28 | |
# ..and tyres on my car, | 0:57:28 | 0:57:29 | |
# I've got most of the means and scripts for the scenes | 0:57:29 | 0:57:32 | |
# I'm out and about so I'm in with a shout | 0:57:32 | 0:57:34 | |
# I've got a fair bit of Jack but better than that | 0:57:34 | 0:57:36 | |
# Food in my belly and a license for my telly | 0:57:36 | 0:57:38 | |
# And nothing's gonna bring me down | 0:57:38 | 0:57:40 | |
# Nothing's going to bring me down | 0:57:52 | 0:57:55 | |
# Best of all, I've got my baby | 0:58:07 | 0:58:12 | |
# Oh, best of all I've got my baby... # | 0:58:12 | 0:58:16 | |
-No! -In the drier! | 0:58:16 | 0:58:18 | |
-No, I won't! -In the drier! | 0:58:18 | 0:58:21 | |
# Nothing's going to bring me down | 0:58:24 | 0:58:25 | |
# She's mighty fine and she's all mine | 0:58:25 | 0:58:28 | |
# No, nothing's gonna bring me down. # | 0:58:28 | 0:58:31 | |
-Ha, ha, ha... -Whoa! -That is slapstick. | 0:58:31 | 0:58:35 | |
Subtitles by Red Bee Media Ltd | 0:58:42 | 0:58:45 | |
E-mail [email protected] | 0:58:45 | 0:58:48 |