
Browse content similar to Open All Hours: A Celebration. Check below for episodes and series from the same categories and more!
| Line | From | To | |
|---|---|---|---|
He was the tight-fisted shopkeeper who just love to con his customers. | 0:00:02 | 0:00:06 | |
Well, that'll be 97p, love. | 0:00:06 | 0:00:08 | |
Thank you. | 0:00:08 | 0:00:09 | |
Oh, d-don't bother about the 3p, y-you can owe it me. | 0:00:09 | 0:00:12 | |
Oh, right. | 0:00:12 | 0:00:14 | |
With his trusty nephew and long-suffering assistant... | 0:00:14 | 0:00:17 | |
LAUGHTER | 0:00:17 | 0:00:18 | |
I'm the errand boy from outer space. | 0:00:18 | 0:00:21 | |
..and a gaggle of gossiping regulars... | 0:00:21 | 0:00:24 | |
I'll have a large sliced loaf. | 0:00:24 | 0:00:26 | |
..it was the ultimate one-stop shop. | 0:00:26 | 0:00:28 | |
No, I'll take a small one. | 0:00:28 | 0:00:30 | |
In the next half-hour, | 0:00:30 | 0:00:31 | |
we'll reveal why this hilarious show's quirky characters... | 0:00:31 | 0:00:35 | |
You can't move round here for grocers in your bosom. | 0:00:35 | 0:00:38 | |
..classic catchphrases... | 0:00:38 | 0:00:40 | |
G-Granville, f-f-fetch your cloth! | 0:00:40 | 0:00:42 | |
MOCKING: "Granville, f-f-fetch your cloth!" | 0:00:42 | 0:00:44 | |
..and slapstick comedy... | 0:00:44 | 0:00:46 | |
CLATTERING | 0:00:46 | 0:00:47 | |
..made it a national treasure. | 0:00:47 | 0:00:49 | |
Stop or I'll f-f-f-f-f...! Oh! | 0:00:49 | 0:00:51 | |
Five...four... | 0:00:52 | 0:00:53 | |
Plus we will be going behind-the-scenes | 0:00:53 | 0:00:55 | |
of a brand-new episode... | 0:00:55 | 0:00:57 | |
Action! | 0:00:57 | 0:00:58 | |
BELL CHIMES | 0:00:58 | 0:00:59 | |
..to take an inside look at the remaking | 0:00:59 | 0:01:01 | |
of a British comedy classic. | 0:01:01 | 0:01:02 | |
I look like a muffin, don't I? | 0:01:02 | 0:01:05 | |
OI! Ah! Ooh! | 0:01:05 | 0:01:07 | |
And to discover whether they can create a real Christmas cracker. | 0:01:07 | 0:01:10 | |
I don't usually do much for Christmas but, | 0:01:10 | 0:01:13 | |
under the circumstances... | 0:01:13 | 0:01:15 | |
Ah! | 0:01:15 | 0:01:17 | |
Welcome to a celebration of one of Britain's best-loved sitcoms. | 0:01:17 | 0:01:21 | |
But it isn't Christmas yet! It feels like it to me. | 0:01:21 | 0:01:24 | |
Doncaster, a town at the heart of the Industrial Revolution | 0:01:38 | 0:01:42 | |
and with a proud history based on coal mining and the railways. | 0:01:42 | 0:01:46 | |
In the back streets of Balby sits | 0:01:48 | 0:01:50 | |
what looks like an ordinary hair salon | 0:01:50 | 0:01:53 | |
but, in fact, it has a very special place in British TV history. | 0:01:53 | 0:01:57 | |
When you look back at all of the photographs and that, | 0:01:57 | 0:02:00 | |
they were good times then, weren't they? They were. | 0:02:00 | 0:02:02 | |
Ronnie Barker and David Jason, I mean, they were very friendly. | 0:02:02 | 0:02:06 | |
They were all very friendly. | 0:02:06 | 0:02:08 | |
Nearly 30 years ago, | 0:02:08 | 0:02:09 | |
Helen Ibbotson's hairdressers was the location for Arkwright's store. | 0:02:09 | 0:02:13 | |
And was the most famous corner shop in the country. | 0:02:13 | 0:02:17 | |
When they used to come to come, they came with big catering vans | 0:02:18 | 0:02:21 | |
and big limousines. It was a big, spectacular thing. | 0:02:21 | 0:02:25 | |
Loads of people came to watch it. | 0:02:25 | 0:02:27 | |
Packed, packed with people. | 0:02:27 | 0:02:30 | |
Now there's fresh buzz in the air. | 0:02:30 | 0:02:32 | |
The BBC is planning a new one-off Christmas special of Open All Hours | 0:02:32 | 0:02:37 | |
and soon the salon will once again | 0:02:37 | 0:02:39 | |
be transformed into Arkwright's shop. | 0:02:39 | 0:02:42 | |
I'll be interested to see them all, anyway. | 0:02:42 | 0:02:45 | |
Never thought we'd be doing this again, did we, love? No, we didn't. | 0:02:45 | 0:02:48 | |
The idea to set a sitcom in a working-class community | 0:02:50 | 0:02:53 | |
in Yorkshire first emerged in 1973. | 0:02:53 | 0:02:56 | |
Writer Roy Clarke was approached by the BBC | 0:02:57 | 0:03:01 | |
to script two new comedies for Ronnie Barker. | 0:03:01 | 0:03:04 | |
And it was Ronnie himself who came up with the idea | 0:03:04 | 0:03:06 | |
of setting one of them in a corner shop. | 0:03:06 | 0:03:09 | |
He said, "I've always wanted to play | 0:03:11 | 0:03:13 | |
"one of these little shopkeepers that sell everything. | 0:03:13 | 0:03:18 | |
And that was good news to me because... | 0:03:18 | 0:03:22 | |
my wife was raised in exactly that kind of situation | 0:03:22 | 0:03:26 | |
and, at one time, when I was still teaching, | 0:03:26 | 0:03:29 | |
she ran a little corner shop. | 0:03:29 | 0:03:32 | |
Roy's experience inspired him to create a man | 0:03:32 | 0:03:35 | |
who would soon become Britain's most famous shopkeeper. | 0:03:35 | 0:03:39 | |
Enter miserly grocer Albert Arkwright. | 0:03:39 | 0:03:42 | |
It was obvious from word one that Ronnie as a shopkeeper | 0:03:42 | 0:03:46 | |
was going to be tight-fisted | 0:03:46 | 0:03:48 | |
and going to be an old Scrooge as far as he can. | 0:03:48 | 0:03:51 | |
And this is where you get the magic of someone like Ronnie. | 0:03:51 | 0:03:55 | |
In other hands, that could have been a real mean old scrote | 0:03:55 | 0:03:59 | |
that nobody took to at all | 0:03:59 | 0:04:01 | |
but Ronnie could pull that off and people still liked him. | 0:04:01 | 0:04:05 | |
Hey, G-G-Granville. Have you been courting again? | 0:04:05 | 0:04:08 | |
Fat chance! We don't close till nine. | 0:04:08 | 0:04:11 | |
Mrs Scully said it c-could have been you | 0:04:11 | 0:04:13 | |
she saw coming out of their Margaret... | 0:04:13 | 0:04:15 | |
You what? ..'s place on Frith Street. | 0:04:15 | 0:04:17 | |
Let me finish, will you? | 0:04:17 | 0:04:19 | |
Open All Hours first hit our screens as a pilot show in March 1973 | 0:04:19 | 0:04:24 | |
but, even though it was set in the north, the very first episode | 0:04:24 | 0:04:28 | |
was actually shot in the streets of Ealing in London. | 0:04:28 | 0:04:31 | |
When it came to casting Arkwright's nephew and errand boy, Granville, | 0:04:31 | 0:04:35 | |
Ronnie knew the perfect man. | 0:04:35 | 0:04:38 | |
My relationship with Ronnie was built over many years. | 0:04:38 | 0:04:42 | |
I suppose our timing was so good, we relied on each other so much. | 0:04:42 | 0:04:46 | |
TILL SNAPS SHUT | 0:04:46 | 0:04:48 | |
LAUGHTER | 0:04:48 | 0:04:51 | |
That'll have somebody yet, that. I dread opening that till. | 0:04:51 | 0:04:53 | |
I just know, one of these days, | 0:04:53 | 0:04:55 | |
I'm going to find somebody's fingers in there. | 0:04:55 | 0:04:57 | |
Mine! | 0:04:57 | 0:04:58 | |
The on-screen double act | 0:05:00 | 0:05:01 | |
of Arkwright and Granville worked instantly. | 0:05:01 | 0:05:04 | |
But making a northern-based comedy in the capital | 0:05:04 | 0:05:07 | |
lacked the right feel for the show's producers. | 0:05:07 | 0:05:10 | |
Wherever you go in London, whatever location you choose, | 0:05:10 | 0:05:14 | |
it reeks of London somehow. | 0:05:14 | 0:05:15 | |
It doesn't seem to be the North of England. | 0:05:15 | 0:05:18 | |
So, three years later, | 0:05:18 | 0:05:20 | |
when they were commissioned to make a full series... | 0:05:20 | 0:05:22 | |
GLASS SHATTERS | 0:05:22 | 0:05:24 | |
..they decided to move it north. | 0:05:24 | 0:05:25 | |
Now its soon-to-be-famous corner shop | 0:05:32 | 0:05:35 | |
was firmly set in Doncaster in South Yorkshire. | 0:05:35 | 0:05:39 | |
BELL CHIMES | 0:05:40 | 0:05:42 | |
G-Granville! F-F-Fetch your cloth! | 0:05:51 | 0:05:54 | |
Along with well-known catchphrases, | 0:05:54 | 0:05:56 | |
the show featured an array of colourful characters | 0:05:56 | 0:06:00 | |
who would soon become family favourites. | 0:06:00 | 0:06:03 | |
There she goes, Granville, N-Nurse Gladys Emmanuel, | 0:06:03 | 0:06:06 | |
with her black bag neatly laundered and her b-b-blouse tightly packed. | 0:06:06 | 0:06:11 | |
Take your time, Mavis, | 0:06:11 | 0:06:12 | |
we can't rush a decision like this. | 0:06:12 | 0:06:15 | |
Large loaf or small? | 0:06:15 | 0:06:17 | |
Three pounds odd for a little bag of groceries like that?! | 0:06:17 | 0:06:21 | |
Well, I can p-put it in a bigger bag for you, if you like. | 0:06:21 | 0:06:24 | |
Ey oop, it's the Black Widow. | 0:06:24 | 0:06:26 | |
She'd put the fear of God into God. | 0:06:26 | 0:06:28 | |
'Gladys Emmanuel...' | 0:06:28 | 0:06:30 | |
I think she burnt her bra when she was 12. | 0:06:30 | 0:06:32 | |
You know, she was having no nonsense from anybody. | 0:06:32 | 0:06:35 | |
She was her own woman. | 0:06:35 | 0:06:36 | |
I like that blouse you've got on there. | 0:06:36 | 0:06:39 | |
Ooh, I'd l-like to browse through that blouse. | 0:06:39 | 0:06:42 | |
One afternoon, when it's wet, you know? | 0:06:44 | 0:06:46 | |
I'll send it over next time I wash it. | 0:06:46 | 0:06:48 | |
Arkwright's obsession and constant pursuit of Nurse Gladys Emmanuel | 0:06:49 | 0:06:54 | |
is one of the show's longest-running themes. | 0:06:54 | 0:06:57 | |
Not often you g-get extras like that on a Morris M-Minor. | 0:06:57 | 0:07:00 | |
It was an ongoing gladiatorial game. | 0:07:00 | 0:07:04 | |
And I think she liked that in him. | 0:07:05 | 0:07:08 | |
By heck, she affects me powerfully, that woman. | 0:07:08 | 0:07:10 | |
S-S-Something in the way she moves. | 0:07:12 | 0:07:14 | |
Like a combine harvester going through a cornfield. | 0:07:16 | 0:07:19 | |
But, for every love interest... | 0:07:19 | 0:07:21 | |
..there was a love rival. | 0:07:22 | 0:07:24 | |
She never cracks a smile. | 0:07:26 | 0:07:28 | |
She's very close, very quiet, very stealthy. | 0:07:28 | 0:07:33 | |
Um, slightly threatening. | 0:07:33 | 0:07:35 | |
A little bit sinister, even. | 0:07:35 | 0:07:37 | |
Good day to you, Mrs Featherstone. Is it? | 0:07:37 | 0:07:40 | |
Maybe it is if you're young and daft. | 0:07:40 | 0:07:42 | |
She's like a Sherman tank, actually. | 0:07:42 | 0:07:44 | |
Moving inexorably onwards, all encased in black camouflage. | 0:07:44 | 0:07:48 | |
BELL CHIMES Oh... | 0:07:48 | 0:07:50 | |
Th-The Widow F-Featherstone. | 0:07:50 | 0:07:53 | |
And what can we do for you that's b-brisk and impersonal | 0:07:53 | 0:07:56 | |
and n-not necessarily inexpensive? | 0:07:56 | 0:07:59 | |
Oh, it'll be inexpensive. I never waste me money. | 0:07:59 | 0:08:02 | |
She was definitely after Arkwright. | 0:08:02 | 0:08:04 | |
More probably because he was very good with his money. | 0:08:04 | 0:08:07 | |
Arkwright, though, was ready to dodge her advances. | 0:08:07 | 0:08:11 | |
Are we alone? | 0:08:11 | 0:08:12 | |
No. No, we're not alone. No. I have men here. I have men... | 0:08:12 | 0:08:16 | |
men working... | 0:08:16 | 0:08:18 | |
working in the, er... in the cellar. | 0:08:18 | 0:08:20 | |
Men working. | 0:08:20 | 0:08:22 | |
HE KNOCKS LIKE A HAMMER | 0:08:22 | 0:08:23 | |
There they are. | 0:08:23 | 0:08:25 | |
In fact, Arkwright only had eyes for one woman. | 0:08:25 | 0:08:29 | |
She was violently jealous. | 0:08:29 | 0:08:31 | |
As she said, he was blinded by a bigger bosom. | 0:08:31 | 0:08:34 | |
Why... | 0:08:35 | 0:08:36 | |
LAUGHTER | 0:08:36 | 0:08:38 | |
..that's f-fresh from the oven! | 0:08:38 | 0:08:40 | |
What is it? | 0:08:40 | 0:08:42 | |
I don't know, but if you've got any to spare, I'll take the lot. | 0:08:42 | 0:08:46 | |
My bosom was padded out with the wardrobe mistress's socks, | 0:08:46 | 0:08:49 | |
which will ruin the image for half of England, won't it? | 0:08:49 | 0:08:52 | |
SHE LAUGHS | 0:08:52 | 0:08:53 | |
Dropping into Britain's busiest corner shop | 0:08:53 | 0:08:56 | |
was a steady stream of oddball customers | 0:08:56 | 0:08:58 | |
who became the lifeblood of the show. | 0:08:58 | 0:09:01 | |
Argh! | 0:09:01 | 0:09:02 | |
Basically, what you've got there is a little theatre. | 0:09:02 | 0:09:05 | |
These guys pop in, do their turn and then go. | 0:09:05 | 0:09:09 | |
There we are, two pints of extra strong exportable | 0:09:09 | 0:09:12 | |
and an ounce of black shag. There we are. | 0:09:12 | 0:09:15 | |
LAUGHTER | 0:09:15 | 0:09:17 | |
Now then, anything for Mr Brocklesby this evening? | 0:09:17 | 0:09:20 | |
Much like the inspiration for the corner shop, | 0:09:20 | 0:09:22 | |
many of Roy Clarke's larger-than-life personalities | 0:09:22 | 0:09:25 | |
were based on people he'd observed. | 0:09:25 | 0:09:28 | |
There has to be, for me, | 0:09:28 | 0:09:29 | |
some kind of link with reality for the character to work. | 0:09:29 | 0:09:34 | |
I'd better have a tin of, er... | 0:09:34 | 0:09:36 | |
soup. | 0:09:36 | 0:09:37 | |
Usually, you get 40 percent from one guy | 0:09:37 | 0:09:41 | |
and maybe the rest from another one. | 0:09:41 | 0:09:44 | |
L-L-Large or small? | 0:09:44 | 0:09:45 | |
Large. | 0:09:46 | 0:09:47 | |
No, small. | 0:09:50 | 0:09:52 | |
The way that he has created some of these really wonderfully | 0:09:52 | 0:09:57 | |
eccentric characters... Well, he's a sort of one-off. | 0:09:57 | 0:10:00 | |
I haven't got a small tin. I only have a large tin. | 0:10:00 | 0:10:04 | |
Oh. | 0:10:04 | 0:10:05 | |
Well, I c-c-can't cut them in half, Mavis! | 0:10:05 | 0:10:07 | |
LAUGHTER | 0:10:07 | 0:10:09 | |
It all f-flops out, you see. | 0:10:09 | 0:10:11 | |
I tell you what I will do, I'll sell you o-one large tin | 0:10:11 | 0:10:14 | |
and I'll only charge you for t-two small tins. | 0:10:14 | 0:10:17 | |
Oh, thank you, Mr Arkwright. | 0:10:17 | 0:10:19 | |
For the actress playing Mavis, | 0:10:20 | 0:10:22 | |
a real-life shopping trip was never the same again. | 0:10:22 | 0:10:26 | |
I always had to make sure that I knew exactly what I wanted, | 0:10:26 | 0:10:28 | |
otherwise, you know, I'd get a barrage of funny comments | 0:10:28 | 0:10:32 | |
about being indecisive. | 0:10:32 | 0:10:33 | |
SHE LAUGHS | 0:10:33 | 0:10:35 | |
Every week, customers would come and go, | 0:10:37 | 0:10:40 | |
but much of the comedy flowed from two characters | 0:10:40 | 0:10:43 | |
who rarely left the shop. | 0:10:43 | 0:10:45 | |
The big asset in that show | 0:10:45 | 0:10:48 | |
was the chemistry between Granville and Arkwright. | 0:10:48 | 0:10:52 | |
Well? How much? | 0:10:52 | 0:10:54 | |
I'm thinking, I'm thinking! | 0:10:54 | 0:10:56 | |
Come on. My arms are aching up here. | 0:10:56 | 0:10:58 | |
And my w-wallet's aching down here! | 0:10:58 | 0:11:01 | |
It was a writer's dream from word one because, I mean, | 0:11:01 | 0:11:05 | |
looking at the thing calmly, you know, afterwards, | 0:11:05 | 0:11:09 | |
where are you going to get a talent like Ronnie Barker | 0:11:09 | 0:11:12 | |
and a talent like David Jason in one show? | 0:11:12 | 0:11:15 | |
You're never, ever going to get it again. | 0:11:15 | 0:11:18 | |
Well? How much? | 0:11:18 | 0:11:19 | |
28p. | 0:11:21 | 0:11:22 | |
Are you sure? | 0:11:22 | 0:11:24 | |
Get it writ at 28p-p-p-p! | 0:11:24 | 0:11:27 | |
Ronnie Barker wasn't one of those people | 0:11:28 | 0:11:31 | |
who wanted inferior people around him to make himself feel better. | 0:11:31 | 0:11:35 | |
You know, he liked having David there because he was funny and fast. | 0:11:35 | 0:11:39 | |
BELL CHIMES | 0:11:39 | 0:11:41 | |
LAUGHTER | 0:11:43 | 0:11:45 | |
Make it 29. | 0:11:45 | 0:11:47 | |
He was a typical tightwad but, in Ronnie Barker's expert hands, | 0:11:47 | 0:11:51 | |
Arkwright became the nation's most lovable shopkeeper. | 0:11:51 | 0:11:55 | |
'Ronnie makes it look so easy.' | 0:11:55 | 0:11:58 | |
That is how clever he is. | 0:11:58 | 0:12:00 | |
Because not everybody can do it. | 0:12:00 | 0:12:02 | |
And not everybody can do it with the ease | 0:12:02 | 0:12:04 | |
with which Ronnie was capable of doing it. | 0:12:04 | 0:12:07 | |
Get your helmet on the counter, will you? | 0:12:07 | 0:12:10 | |
That's right. Come on, Mr Bristow. | 0:12:10 | 0:12:12 | |
Don't worry, I'm not going to do it that way round. You're all right. | 0:12:12 | 0:12:15 | |
Have you saved me them half a dozen...? | 0:12:15 | 0:12:17 | |
OHH! | 0:12:17 | 0:12:19 | |
LAUGHTER AND APPLAUSE | 0:12:19 | 0:12:21 | |
There goes a r-regular order for half a dozen razor blades. | 0:12:23 | 0:12:27 | |
Ronnie Barker had no great ego. | 0:12:27 | 0:12:30 | |
So he treated you as being as important as himself. | 0:12:30 | 0:12:34 | |
Which is, apart from being very flattering, is comforting. | 0:12:34 | 0:12:37 | |
Granville. HE WHISTLES | 0:12:37 | 0:12:39 | |
Come on. Come on. Come on, come on. | 0:12:39 | 0:12:40 | |
Watch this, look, the Bounty hunters. Come on, look. | 0:12:40 | 0:12:43 | |
Yes! You like those, don't you? Aye, lovely! | 0:12:45 | 0:12:48 | |
Yeah. Put your money in the till. | 0:12:48 | 0:12:50 | |
It was a joy and a pleasure to work with such a great man. | 0:12:51 | 0:12:55 | |
There was one shop regular which captivated millions | 0:12:57 | 0:13:01 | |
and even threatened to upstage Arkwright himself. | 0:13:01 | 0:13:04 | |
Oh, I hate this till! Go on, get on with it! It won't b-bite you. | 0:13:04 | 0:13:09 | |
Ronnie Barker used to say, "The snapping till's building its part." | 0:13:09 | 0:13:12 | |
You know, cos it seemed to loom larger! | 0:13:12 | 0:13:14 | |
TILL SNAPS SHUT | 0:13:16 | 0:13:17 | |
You wouldn't want to get your hands caught in it, | 0:13:17 | 0:13:19 | |
let me put it that way. | 0:13:19 | 0:13:21 | |
So you have to treat it with a great deal of respect. | 0:13:21 | 0:13:24 | |
The snapping till has a mind of its own. And if you... | 0:13:29 | 0:13:32 | |
dally with your hands in there too much, | 0:13:32 | 0:13:35 | |
you will lose your fingers. | 0:13:35 | 0:13:37 | |
TILL SNAPS SHUT Argh! | 0:13:38 | 0:13:40 | |
Of course, it didn't really have a mind of its own. | 0:13:40 | 0:13:43 | |
The assistant floor manager was on the other end | 0:13:43 | 0:13:46 | |
and pulled a string and, of course, | 0:13:46 | 0:13:49 | |
we were all frightened about catching Ronnie's fingers. | 0:13:49 | 0:13:53 | |
If you're going to risk that vicious spring clip, I don't want to look. | 0:13:53 | 0:13:56 | |
Just tell me when it's all over. | 0:13:56 | 0:13:57 | |
Oh, don't be daft, you only have to j-jiggle it a bit. | 0:13:57 | 0:14:00 | |
And once, in fact, it he did actually catch Ronnie's his fingers. | 0:14:00 | 0:14:03 | |
TILL SNAPS SHUT Oh! | 0:14:03 | 0:14:05 | |
Slapstick comedy became one of the show's key features. | 0:14:07 | 0:14:11 | |
And a source for some of its classic moments. | 0:14:11 | 0:14:14 | |
Now, listen, Granville... | 0:14:14 | 0:14:16 | |
If you can find the right physical bits, | 0:14:17 | 0:14:20 | |
that's where the belly laughs are. | 0:14:20 | 0:14:23 | |
A fans' favourite is when Granville | 0:14:23 | 0:14:25 | |
discovered some false legs dumped in a dustbin. | 0:14:25 | 0:14:28 | |
He sticks them out of the basket | 0:14:28 | 0:14:30 | |
so it looks like he's got a sort of upside-down female in there. | 0:14:30 | 0:14:33 | |
And then he puts them underneath his pinny | 0:14:35 | 0:14:37 | |
when sitting on a seat in the park. | 0:14:37 | 0:14:39 | |
Then he sticks them either side of a bloke underneath a car. | 0:14:41 | 0:14:44 | |
And it was just a great, funny sequence | 0:14:46 | 0:14:49 | |
and I enjoyed doing that very much. | 0:14:49 | 0:14:51 | |
But, for millions of viewers, | 0:14:55 | 0:14:57 | |
there was an even more memorable trademark of the series. | 0:14:57 | 0:15:01 | |
I-I-I have a d-difficulty f-formulating my words! | 0:15:01 | 0:15:07 | |
I think Ronnie did it brilliantly. It was utterly truthful. | 0:15:07 | 0:15:10 | |
It was a completely natural stutter. | 0:15:10 | 0:15:14 | |
It all started when we had b-b-b-b-b... | 0:15:14 | 0:15:18 | |
It's no good, you know I can't understand Morse code. | 0:15:18 | 0:15:22 | |
I used to stutter when I was a child, | 0:15:22 | 0:15:25 | |
so I was worried that I would join in. | 0:15:25 | 0:15:28 | |
There's enough dirt on there to fill The Black Hole of Ca-ca-ca... | 0:15:28 | 0:15:31 | |
The Black Hole of Ca-ca-ca... | 0:15:31 | 0:15:34 | |
The Black... | 0:15:34 | 0:15:35 | |
The Hanging Gardens of Babylon. | 0:15:35 | 0:15:38 | |
I think now if you had a character created who did stutter, I think you | 0:15:38 | 0:15:43 | |
might have a problem with that these days, | 0:15:43 | 0:15:45 | |
cos I think it might be seen as not politically correct. | 0:15:45 | 0:15:47 | |
Good morning, Mrs F-f-f-f... Jackson. | 0:15:47 | 0:15:53 | |
Through four series, from 1976 to 1985, | 0:15:53 | 0:15:56 | |
Open All Hours charmed the nation. | 0:15:56 | 0:15:59 | |
From Arkwright's obsession with fleecing his customers... | 0:16:00 | 0:16:03 | |
Last few what at the old price? | 0:16:03 | 0:16:06 | |
We'll worry about that when we get them inside. | 0:16:06 | 0:16:08 | |
..to his continuing quest to win the heart of Nurse Gladys. | 0:16:08 | 0:16:12 | |
Hello, Gladys Emmanuel. Nice to see you looking so cheerful. | 0:16:12 | 0:16:16 | |
And Granville's failed lessons in love. | 0:16:16 | 0:16:18 | |
OK. I'm your prisoner. | 0:16:18 | 0:16:21 | |
Do with me what you will. Ah! | 0:16:21 | 0:16:24 | |
By the mid-1980s, it was pulling in nearly 19 million viewers, | 0:16:24 | 0:16:28 | |
and was Britain's most popular TV show. | 0:16:28 | 0:16:30 | |
GUNSHOT | 0:16:32 | 0:16:34 | |
But suddenly, at the height of its success, | 0:16:34 | 0:16:36 | |
Arkwright and Granville shut up shop. | 0:16:36 | 0:16:38 | |
One day, Granville, all this will be yours. | 0:16:40 | 0:16:42 | |
Lock-lock-lock-lock stock and barrel. | 0:16:42 | 0:16:44 | |
It's nearly 30 years since the last series was produced, | 0:17:00 | 0:17:03 | |
and on the streets of Balby, filming of a brand-new episode is due | 0:17:03 | 0:17:07 | |
to get under way in just two days' time. | 0:17:07 | 0:17:10 | |
But before the cameras can start recording, a BBC set design team | 0:17:10 | 0:17:15 | |
needs to transform the hairdressing salon into Arkwright's store. | 0:17:15 | 0:17:19 | |
It's exactly as it was all those years ago. | 0:17:21 | 0:17:24 | |
I mean, this is mind-blowing. | 0:17:24 | 0:17:26 | |
You know, this is such a rare thing to happen cos what premises | 0:17:26 | 0:17:30 | |
has remained the same for nearly 30 years? | 0:17:30 | 0:17:33 | |
Plan of action - we've all arrived here at eight o'clock this morning, | 0:17:34 | 0:17:38 | |
and we've got chippies starting in there, | 0:17:38 | 0:17:40 | |
the boys are unloading the lorries | 0:17:40 | 0:17:42 | |
and gradually during the course of the day, the thing will evolve. | 0:17:42 | 0:17:46 | |
It's just an ordinary hairdresser shop, but when you see that stuck | 0:17:59 | 0:18:02 | |
there again you think, "Oh, he's up - he's coming back!" | 0:18:02 | 0:18:05 | |
Word certainly spreads fast, and the return of this iconic show | 0:18:06 | 0:18:10 | |
is causing quite a stir in the neighbourhood. | 0:18:10 | 0:18:13 | |
It's nice that, you know, they're bringing it back. | 0:18:13 | 0:18:17 | |
It's come home after all this time. | 0:18:17 | 0:18:18 | |
I mean, it's nearly 30 years since the last series were made | 0:18:18 | 0:18:22 | |
and so it's nice that... | 0:18:22 | 0:18:24 | |
I think they thought it would never happen again. | 0:18:24 | 0:18:27 | |
Mum used to tell me stories | 0:18:27 | 0:18:28 | |
that she used to come down in t'pushchair, | 0:18:28 | 0:18:30 | |
used to stand at the corner, or by the gulley just watching filming. | 0:18:30 | 0:18:34 | |
It's fantastic. | 0:18:34 | 0:18:35 | |
It's a British institution. | 0:18:35 | 0:18:37 | |
I can't wait to see it filmed. | 0:18:37 | 0:18:39 | |
Such is the excitement of the return of the show, others have | 0:18:39 | 0:18:42 | |
travelled from far and wide to catch a glimpse of this famous shop. | 0:18:42 | 0:18:46 | |
We've come all the way from Burton-on-Trent this morning, | 0:18:46 | 0:18:49 | |
and as soon as we found out this was happening we left home | 0:18:49 | 0:18:53 | |
and here we are an hour later outside Arkwright's emporium. | 0:18:53 | 0:18:57 | |
Transforming the hair salon into Arkwright's shop is a huge task, | 0:18:58 | 0:19:02 | |
and to make it true to life, every single detail counts. | 0:19:02 | 0:19:05 | |
It takes a six-person team of designers, | 0:19:07 | 0:19:09 | |
props-men and art directors two full days to pull off this massive | 0:19:09 | 0:19:13 | |
makeover, and it's only by late Sunday afternoon that they're | 0:19:13 | 0:19:17 | |
applying the finishing touches. | 0:19:17 | 0:19:19 | |
We're really well on the way now. I reckon about another hour will | 0:19:26 | 0:19:30 | |
see us fairly fit to be ready | 0:19:30 | 0:19:31 | |
for the cameras tomorrow morning bright and early. | 0:19:31 | 0:19:35 | |
8am, and it's the start of filming of the Christmas special. | 0:19:44 | 0:19:48 | |
Sir David to you! | 0:19:48 | 0:19:50 | |
As more than 50 crew | 0:19:51 | 0:19:52 | |
and production team take to the streets of Balby in Doncaster, | 0:19:52 | 0:19:56 | |
the crowds are already swelling. | 0:19:56 | 0:19:58 | |
They're beginning to shoot a new episode | 0:19:58 | 0:20:01 | |
for the first time since 1985. | 0:20:01 | 0:20:03 | |
I do feel that it can't possibly be 28 years | 0:20:05 | 0:20:08 | |
since the last episode of Open All Hours. | 0:20:08 | 0:20:12 | |
It must be yesterday afternoon. | 0:20:12 | 0:20:14 | |
And it's so nice to do it again. | 0:20:14 | 0:20:17 | |
It's such a laugh. | 0:20:17 | 0:20:19 | |
As though we never went away. | 0:20:19 | 0:20:20 | |
For the original cast members, | 0:20:20 | 0:20:23 | |
it's a reunion they could never have dreamed would happen. | 0:20:23 | 0:20:26 | |
It's great to be here back in the shop. | 0:20:26 | 0:20:29 | |
It's as though we'd never left it. | 0:20:29 | 0:20:31 | |
The delight in revisiting it is quite wonderful. | 0:20:33 | 0:20:37 | |
Despite heavy rain, hundreds gather in the street to witness | 0:20:38 | 0:20:42 | |
the first of three days' filming at the shop. | 0:20:42 | 0:20:45 | |
The people were so warm and receptive, | 0:20:47 | 0:20:50 | |
and so keen to see it back. | 0:20:50 | 0:20:52 | |
They stood patiently, watching us all. | 0:20:53 | 0:20:56 | |
Some of them stood there all day. | 0:20:56 | 0:20:58 | |
A couple came and said, "I used to watch you filming | 0:20:58 | 0:21:01 | |
"when I was a little girl and here's my daughter come to watch you today." | 0:21:01 | 0:21:05 | |
And that was... | 0:21:05 | 0:21:08 | |
It was quite moving. | 0:21:08 | 0:21:09 | |
Two big fans who grew up in these streets are Wayne Burton | 0:21:11 | 0:21:14 | |
and Jane Laing. | 0:21:14 | 0:21:16 | |
It's the first time they've met for 25 years, | 0:21:16 | 0:21:18 | |
and both have fond childhood memories about the show. | 0:21:18 | 0:21:23 | |
We used to sit on the step and get to play and be in the background. | 0:21:23 | 0:21:27 | |
How old would you have been? You're older than me, aren't you? | 0:21:27 | 0:21:29 | |
Ooh... Last time they come, I think it were '83. | 0:21:29 | 0:21:32 | |
I'd have been about 12. | 0:21:32 | 0:21:35 | |
Oh, I were nine. Were you? | 0:21:35 | 0:21:36 | |
Yeah. Showing our age now! | 0:21:36 | 0:21:37 | |
We are now, just a little bit. | 0:21:37 | 0:21:39 | |
That street felt like they owned us then | 0:21:39 | 0:21:42 | |
and they still feel like they own us. | 0:21:42 | 0:21:44 | |
DIRECTOR: And...action. | 0:21:47 | 0:21:49 | |
How are we, Mrs Featherstone? | 0:21:49 | 0:21:52 | |
Call me...Delphine. | 0:21:52 | 0:21:54 | |
In Roy Clarke's Christmas special, | 0:21:54 | 0:21:55 | |
Granville has inherited the shop from Arkwright and is now in charge, | 0:21:55 | 0:22:00 | |
but he's still doing battle with some very familiar faces. | 0:22:00 | 0:22:03 | |
Your Uncle Arkwright would turn in his grave. | 0:22:03 | 0:22:06 | |
He was never one for mixing business with pleasure. | 0:22:06 | 0:22:09 | |
Believe me, I tried. | 0:22:09 | 0:22:11 | |
Roy Clarke gave us so much fun and silliness in the original series and | 0:22:11 | 0:22:15 | |
I'm absolutely delighted to say that | 0:22:15 | 0:22:18 | |
his skill has not diminished one iota. | 0:22:18 | 0:22:20 | |
I have trained two husbands to an early grave. | 0:22:20 | 0:22:23 | |
It's a bit difficult for me, | 0:22:23 | 0:22:25 | |
cos this time I'm playing the Ronnie B part and it... | 0:22:25 | 0:22:29 | |
It's huge! | 0:22:29 | 0:22:30 | |
It's a lot of words to remember in such a short time, | 0:22:30 | 0:22:33 | |
so at the moment, I'm still struggling. | 0:22:33 | 0:22:37 | |
There's also a lot resting on the shoulders of James Baxter, | 0:22:39 | 0:22:43 | |
who plays Granville's son Leroy. | 0:22:43 | 0:22:45 | |
Coming into it, | 0:22:46 | 0:22:47 | |
I was and still am aware of the enormity of the show, but I just | 0:22:47 | 0:22:52 | |
had to take solace or take comfort | 0:22:52 | 0:22:55 | |
in that I am working with a legend. | 0:22:55 | 0:23:00 | |
David's really helped me settle in. | 0:23:02 | 0:23:04 | |
That'll cost ya! | 0:23:05 | 0:23:07 | |
You'll get it at trade price. | 0:23:07 | 0:23:09 | |
He's very fun to work with. | 0:23:09 | 0:23:12 | |
It's been a busy day's filming for the whole team. | 0:23:12 | 0:23:15 | |
Front cover of the Radio Times. | 0:23:16 | 0:23:17 | |
And they're overcome with the welcome they've | 0:23:19 | 0:23:22 | |
received from the people of Doncaster. | 0:23:22 | 0:23:24 | |
After the first few takes people were applauding in the streets. | 0:23:24 | 0:23:27 | |
I've never seen that happen before. | 0:23:27 | 0:23:29 | |
Just seems to be so many smiles everywhere. | 0:23:29 | 0:23:34 | |
We feel hugely welcome. | 0:23:34 | 0:23:36 | |
As they record the final scene of the day... | 0:23:36 | 0:23:39 | |
Your note arrived safely, Granville, tucked in among my groceries. | 0:23:39 | 0:23:44 | |
..the cast and crew know there's plenty of work still ahead of them. | 0:23:44 | 0:23:48 | |
'19, take two on the end.' | 0:23:49 | 0:23:51 | |
It's now two weeks later. | 0:24:00 | 0:24:02 | |
With the location filming completed, final rehearsals are under way | 0:24:02 | 0:24:06 | |
for the recording of the whole show in front of a live studio audience. | 0:24:06 | 0:24:10 | |
You leave us a few free samples and we'll see how it goes. | 0:24:10 | 0:24:14 | |
It's a huge day for the team and it's the first time fans | 0:24:14 | 0:24:18 | |
will have the chance to see the full show and deliver their verdict. | 0:24:18 | 0:24:22 | |
Making any comedy programme is risky. | 0:24:22 | 0:24:24 | |
There's always the chance that we might make something that we | 0:24:24 | 0:24:28 | |
think works, and nobody else agrees. | 0:24:28 | 0:24:32 | |
The demand for tickets has been phenomenal. | 0:24:32 | 0:24:34 | |
The producers have received more than 28,000 applications | 0:24:34 | 0:24:38 | |
for just 360 places. | 0:24:38 | 0:24:41 | |
So there's a lot at stake. | 0:24:41 | 0:24:43 | |
We all have fond memories of it, | 0:24:43 | 0:24:45 | |
we all loved it and I do think it's kind of ripe for a return. | 0:24:45 | 0:24:52 | |
So, erm, tonight's the night and we hope it goes well. | 0:24:52 | 0:24:56 | |
Five, four, three, two, one... | 0:24:56 | 0:25:00 | |
DIRECTOR: Action! BELL RINGS | 0:25:00 | 0:25:03 | |
The big question is - will the audience love the new episode | 0:25:03 | 0:25:06 | |
just as much as they did the originals? | 0:25:06 | 0:25:09 | |
David and I both agreed, if it's not broken, don't mend it. | 0:25:11 | 0:25:15 | |
So keep it as close as we can to what it was. | 0:25:15 | 0:25:19 | |
LAUGHTER | 0:25:21 | 0:25:22 | |
Warming up out there, is it? | 0:25:22 | 0:25:25 | |
You're a deadpan lot around here. | 0:25:25 | 0:25:27 | |
Something about the tone. | 0:25:27 | 0:25:30 | |
It's absolutely Roy Clarke. | 0:25:30 | 0:25:31 | |
I look like a muffin, don't I? | 0:25:31 | 0:25:34 | |
You look as though you could use a drink. | 0:25:34 | 0:25:36 | |
I do. I need a drink. | 0:25:36 | 0:25:38 | |
It feels very similar to the original Open All Hours. | 0:25:38 | 0:25:42 | |
"You need a drink," he says. | 0:25:43 | 0:25:45 | |
Then charges me for the bottle. | 0:25:45 | 0:25:46 | |
It's a lair. | 0:25:48 | 0:25:49 | |
"G-granville, remember, this is a lair." | 0:25:50 | 0:25:53 | |
And you enter at you pee-pe-peril. | 0:25:53 | 0:25:57 | |
It's a jungle round here. | 0:25:57 | 0:25:58 | |
For Roy Clarke, keeping a presence of Arkwright in the new show | 0:26:01 | 0:26:04 | |
was one of his biggest challenges. | 0:26:04 | 0:26:07 | |
A huge absence is going to be there | 0:26:07 | 0:26:10 | |
in everybody's mind when they see this. | 0:26:10 | 0:26:12 | |
And so, you might as well face it and use it. | 0:26:12 | 0:26:16 | |
You'll never get rid of all this anchovy paste. | 0:26:16 | 0:26:18 | |
Don't worry, I'll shift it. | 0:26:18 | 0:26:20 | |
You forget that I was ta-ta-ta-trained... | 0:26:20 | 0:26:25 | |
LAUGHTER | 0:26:25 | 0:26:27 | |
For my mind, for my money, Ronnie's still there. | 0:26:27 | 0:26:31 | |
I was trained by the m-m-master! | 0:26:31 | 0:26:35 | |
If he could see us, if he is watching, be laughing his head off. | 0:26:35 | 0:26:40 | |
LAUGHTER | 0:26:40 | 0:26:43 | |
The show's gone down a storm, | 0:26:46 | 0:26:48 | |
and the audience's reaction is unanimous. | 0:26:48 | 0:26:52 | |
Absolutely fantastic. | 0:26:52 | 0:26:53 | |
Yeah, absolutely great. | 0:26:54 | 0:26:55 | |
To see David Jason, it's a dream. | 0:26:55 | 0:26:58 | |
Smashing. Beautiful. | 0:26:58 | 0:27:00 | |
Really enjoyed it. | 0:27:00 | 0:27:01 | |
It might be 40 years since the very first episode... | 0:27:03 | 0:27:07 | |
You ta-ta-taught me some stuff! | 0:27:07 | 0:27:09 | |
..but it's clear that Open All Hours still holds a special | 0:27:09 | 0:27:13 | |
place in the heart of the nation. | 0:27:13 | 0:27:15 | |
It's been a great trip down memory lane for me. | 0:27:16 | 0:27:20 | |
Good morning, Granville. | 0:27:20 | 0:27:21 | |
Good morning, Mavis. | 0:27:21 | 0:27:23 | |
I've had a ball. | 0:27:23 | 0:27:24 | |
Do you know that the small grocer makes an ideal pet? | 0:27:24 | 0:27:28 | |
I've always know that it's very special. | 0:27:28 | 0:27:31 | |
Very, very special. | 0:27:31 | 0:27:33 | |
I think we are ready to take us to the next level. | 0:27:33 | 0:27:36 | |
And working on it again, of course, | 0:27:36 | 0:27:38 | |
you are even more aware of how clever and how funny it is. | 0:27:38 | 0:27:43 | |
It is the age of the cougar. | 0:27:43 | 0:27:45 | |
SHE GROWLS | 0:27:45 | 0:27:47 | |
In order to do comedy well, you have to have a sense of the ridiculous | 0:27:47 | 0:27:52 | |
and you have to have a sense of fun. | 0:27:52 | 0:27:53 | |
Lower your end. | 0:27:53 | 0:27:55 | |
The story of my life. | 0:27:55 | 0:27:56 | |
So put those elements all together and you can't wait to get back to | 0:27:58 | 0:28:02 | |
work really, because it's not like work, it's just like having a party. | 0:28:02 | 0:28:07 | |
Ladies and gentlemen, the price is wrong! | 0:28:07 | 0:28:10 | |
Granville, come on down! | 0:28:10 | 0:28:13 | |
I think Open All Hours was unique. | 0:28:15 | 0:28:17 | |
I don't believe that any of us | 0:28:17 | 0:28:19 | |
knew that it would stand the test of time the way it has. | 0:28:19 | 0:28:23 | |
Bl-bl-bl-bl... | 0:28:23 | 0:28:26 | |
Bl-bl-bloody burglars! | 0:28:27 | 0:28:30 | |
It's held in affection, I think. | 0:28:30 | 0:28:32 | |
I think that's the secret of its success. | 0:28:32 | 0:28:35 | |
It's held in great affection. | 0:28:35 | 0:28:36 | |
Now, isn't it time silly old fools were in bed? | 0:28:36 | 0:28:39 | |
Thought you'd n-never ask! | 0:28:39 | 0:28:42 |