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The family could be watching it and roaring with laughter | 0:00:04 | 0:00:06 | |
and the children would think, "I don't know what they're laughing at, "but it does seem to be funny." | 0:00:06 | 0:00:11 | |
Take the customer into the changing room, Mr Grainger, put his clothes on a coat hanger. | 0:00:11 | 0:00:15 | |
And come straight back, Mr Humphries. | 0:00:15 | 0:00:18 | |
It was fun and it was playful and it was good-natured, and it was sort of innocent. | 0:00:18 | 0:00:23 | |
Oh, Miss Brahms, that was very naughty. | 0:00:23 | 0:00:27 | |
Hee hee hee! | 0:00:27 | 0:00:28 | |
It was a big show. Everyone would watch it. For years. | 0:00:30 | 0:00:32 | |
It ran for years. It was a big event. | 0:00:32 | 0:00:34 | |
Display went to a lot of trouble with that animal. Pull the reins. | 0:00:34 | 0:00:37 | |
Aagh! | 0:00:37 | 0:00:40 | |
David Croft had to fight every year to get them to... "Couldn't you get Thames to do it? | 0:00:40 | 0:00:44 | |
"It's a bit down-market for the BBC." | 0:00:44 | 0:00:46 | |
We were a breath of fresh air with comedy at that particular time. | 0:00:49 | 0:00:54 | |
-Are you free, Mr Lucas? -I'm sorry, Captain Peacock, this lady's looking for something large in Y-fronts. | 0:00:54 | 0:01:00 | |
It got such an audience reaction, they said, "Hello, we've got a success on our hands." | 0:01:00 | 0:01:05 | |
I'm free! | 0:01:05 | 0:01:07 | |
Are You Being Served? first aired in 1972 and became a firm family favourite, | 0:01:10 | 0:01:14 | |
running for 13 years on BBC One, chock-full of innuendo, dodgy lifts and the occasional customer. | 0:01:14 | 0:01:21 | |
Madam would care to see the shorts. | 0:01:21 | 0:01:24 | |
Oh! | 0:01:24 | 0:01:27 | |
Are You Being Served? told the story of life on the clothing floor of Grace Brothers department store. | 0:01:27 | 0:01:31 | |
It ran for ten series, sold across the globe, but it was a show that the BBC never really wanted. | 0:01:31 | 0:01:38 | |
-They all wanted to give you the sack except Mr Lucas. -Ha-ha! | 0:01:38 | 0:01:42 | |
-Dear boy. -Yeah, he wanted to send you to the knackers yard. | 0:01:42 | 0:01:46 | |
From the word go it was a struggle, dreamt up out of financial | 0:01:48 | 0:01:51 | |
desperation by the writer and performer Jeremy Lloyd. | 0:01:51 | 0:01:54 | |
He'd just given up his career in America to be with his new wife, Joanna Lumley, back in the UK. | 0:01:54 | 0:01:59 | |
Bobby! Oh, come on. The party's over. | 0:01:59 | 0:02:03 | |
Oh, darling, what are you doing here? | 0:02:03 | 0:02:05 | |
Well, I live here. I'm trying to get you to go home. | 0:02:05 | 0:02:07 | |
I came back and I'd spent most of my money and Joanna said, | 0:02:07 | 0:02:11 | |
"Write about something you know." | 0:02:11 | 0:02:13 | |
I said, "Well, I know about Simpson's." | 0:02:13 | 0:02:15 | |
She said, "Well, there you are, Simpson's. Write about a store." | 0:02:15 | 0:02:19 | |
And I said, "That's a rather good idea." | 0:02:19 | 0:02:21 | |
During Jeremy Lloyd's youth, he'd worked at the department store Simpson of Piccadilly. | 0:02:21 | 0:02:26 | |
He lasted only two and a half years, but it gave him enough insight to put pen to paper. | 0:02:26 | 0:02:32 | |
I met David Croft when he and I were called in to help with a show that had been written by Jilly Cooper... | 0:02:32 | 0:02:39 | |
..starring my ex-wife, I think at the time, Joanna Lumley. | 0:02:41 | 0:02:44 | |
He mentioned this show and we agreed to meet and talk about it. | 0:02:44 | 0:02:49 | |
He'd already sold it in point of fact to ATV, I think. | 0:02:49 | 0:02:52 | |
I said, "Look, if you get it back, I'll gladly work with you and produce it." | 0:02:55 | 0:03:00 | |
David Croft is a genius, there's no doubt about that | 0:03:00 | 0:03:02 | |
when you consider his background. | 0:03:02 | 0:03:04 | |
David Croft was a producer at the BBC at the time, working for head of light entertainment Bill Cotton, | 0:03:04 | 0:03:10 | |
and was the department's golden boy | 0:03:10 | 0:03:12 | |
after creating the hit sitcom Dad's Army. | 0:03:12 | 0:03:15 | |
I am wearing a toupee. | 0:03:15 | 0:03:17 | |
A wig, if that makes it any clearer. | 0:03:19 | 0:03:23 | |
So if any of you want a good laugh at my expense, now's your chance, | 0:03:23 | 0:03:28 | |
cos I'm going to show it to you. | 0:03:28 | 0:03:30 | |
The reason it was commissioned is that the BBC wanted six comedy pilots. | 0:03:36 | 0:03:42 | |
In those early days, the BBC used to do a series of pilot shows | 0:03:42 | 0:03:46 | |
under the banner of Comedy Playhouse | 0:03:46 | 0:03:49 | |
and they were half-hour pilots | 0:03:49 | 0:03:51 | |
that people had thought might have a bit of mileage | 0:03:51 | 0:03:56 | |
and were worth exploring with a view to running into series. | 0:03:56 | 0:04:00 | |
And so they'd all be shown and, according to audience reaction and the way things went, they'd say, | 0:04:00 | 0:04:05 | |
"Yeah, I think that's the one we're gonna go for this year and give it a try." | 0:04:05 | 0:04:09 | |
Comedy Playhouse was an idea that was designed | 0:04:09 | 0:04:12 | |
to keep successful comedy writers Galton and Simpson at the BBC. | 0:04:12 | 0:04:16 | |
They'd come up with Steptoe And Son and Croft wanted to get in on the act. | 0:04:17 | 0:04:21 | |
David, who was very popular at the BBC, said, "Well, I've got one." | 0:04:23 | 0:04:26 | |
And they didn't even ask what it was. They said, "Well, just write it." | 0:04:26 | 0:04:30 | |
I had nobody to answer to, particularly. Bill Cotton liked the idea. | 0:04:30 | 0:04:35 | |
There were other shows on at the same time, like On The Buses, My Wife Next Door. | 0:04:36 | 0:04:41 | |
Nobody had ever written a show about a store. | 0:04:41 | 0:04:45 | |
So it was original and unique. | 0:04:45 | 0:04:47 | |
Aye-aye, opening time. | 0:04:47 | 0:04:49 | |
-Stand by for the stampede. -Tie, Mr Lucas. | 0:04:49 | 0:04:52 | |
-Yes, of course, Captain Peacock. Anything in particular, sir? -Straighten your tie. | 0:04:52 | 0:04:57 | |
It was an outline of what people said and the departments and the sort of conversations | 0:04:57 | 0:05:01 | |
that I remembered, and the floor walkers and everything like that. | 0:05:01 | 0:05:04 | |
They were all based on characters that actually were at Simpson's. | 0:05:04 | 0:05:07 | |
If you would trouble to read the memo from the accounts department, | 0:05:07 | 0:05:10 | |
you would know they prefer ballpoints. Correct, Mr Humphries? | 0:05:10 | 0:05:13 | |
Ballpoints, Captain Peacock. | 0:05:13 | 0:05:15 | |
Captain Peacock was Major Huskisson, who was a director. | 0:05:16 | 0:05:22 | |
Major Huskisson always wore a carnation, red carnation, | 0:05:22 | 0:05:25 | |
in his button hole, | 0:05:25 | 0:05:26 | |
which was delivered to his office by a local Jermyn Street florist every day, every morning. | 0:05:26 | 0:05:34 | |
I was at Catterick in my early days, yes, and I was a corporal for a few weeks. | 0:05:34 | 0:05:40 | |
They were exaggerations, obviously, | 0:05:40 | 0:05:42 | |
and Mrs Slocombe was Evelyn Whiteside, | 0:05:42 | 0:05:45 | |
who had immaculate white hair. | 0:05:45 | 0:05:48 | |
She was similar in build to Mrs Slocombe. | 0:05:48 | 0:05:53 | |
She always looked as though she'd just come from the hairdresser, every day. | 0:05:53 | 0:05:58 | |
Of course, it's for madam to decide. | 0:05:58 | 0:06:00 | |
It's either cold and interesting in these. Or warm and safe in these. | 0:06:00 | 0:06:07 | |
She wouldn't suffer fools, though, but she was a great lady. | 0:06:07 | 0:06:10 | |
Listened to The Archers lately, have you? | 0:06:10 | 0:06:13 | |
Ooh, you're as common as muck. | 0:06:16 | 0:06:18 | |
We had a pecking order and that was the man with the carnation, who was the floorwalker, | 0:06:18 | 0:06:25 | |
who was usually an ex-major, would point to assistants to say, "Are you free?" | 0:06:25 | 0:06:29 | |
And that pecking order would be depending how well-off the customer looked. | 0:06:29 | 0:06:32 | |
-Mr Grainger, are you free? -I'm very sorry, I'm afraid I can't help you, Captain Peacock. | 0:06:32 | 0:06:37 | |
If the head assistant didn't think he was going to spend very much, he'd pass him on to the second. | 0:06:37 | 0:06:42 | |
Are you available for a clip-on bow tie? | 0:06:42 | 0:06:46 | |
I have never been available for a clip-on bow tie. | 0:06:46 | 0:06:49 | |
The second would pass him on to the third. | 0:06:49 | 0:06:51 | |
Mr Lucas will attend to the customer. Forward, Mr Lucas. | 0:06:51 | 0:06:54 | |
They might even get to me. | 0:06:54 | 0:06:55 | |
I'd usually find somebody who looked very badly dressed | 0:06:55 | 0:06:57 | |
who wanted to spend a fortune, which annoyed everybody. | 0:06:57 | 0:07:00 | |
-Let me serve him. I didn't make any commission last Friday. -You sold that 38" long. | 0:07:00 | 0:07:04 | |
I know, but the man brought it back. His wife didn't like it. | 0:07:04 | 0:07:06 | |
It didn't fit her. Go on please, let me have him. | 0:07:06 | 0:07:08 | |
-It's Grainger's first. -Well, he hasn't seen him. | 0:07:08 | 0:07:11 | |
-I'm going to serve him. -Well, don't mess it up. | 0:07:11 | 0:07:13 | |
Simpson's would deny it to their dying day, if any of them were still alive. | 0:07:13 | 0:07:17 | |
But the thing about putting their knee into the armhole of a jacket... | 0:07:17 | 0:07:22 | |
And you pull until you break all the stitches. | 0:07:22 | 0:07:26 | |
If you listen you can hear them go. | 0:07:27 | 0:07:30 | |
..to make it seem larger and bring it back to the customer. "I've found one slightly larger. | 0:07:31 | 0:07:36 | |
"You must try this on, but don't wave your arms about too much." | 0:07:36 | 0:07:39 | |
Well, the trick in this, Mr Lucas, is to make sure the customer gets it home before the sleeves drop off. | 0:07:39 | 0:07:44 | |
I never saw it, so I don't know. But if he says it's true, then it must be true. | 0:07:44 | 0:07:48 | |
I am just about to find the "other pair" of trousers. | 0:07:48 | 0:07:52 | |
We don't knee trousers, Mr Lucas. | 0:07:54 | 0:07:59 | |
-Don't we? -No. | 0:07:59 | 0:08:00 | |
Well, you might have told me before. | 0:08:00 | 0:08:03 | |
By hook or by crook, you were going to make that sale. | 0:08:03 | 0:08:06 | |
If you had to jam the jacket on to the person, which I did frequently. | 0:08:06 | 0:08:09 | |
If you literally had to pull it on, | 0:08:09 | 0:08:11 | |
drag it around his waist and just get his belly in... | 0:08:11 | 0:08:15 | |
It's you, sir. Definitely you. Don't you think so, Mr Lucas? | 0:08:15 | 0:08:19 | |
Yes, it's definitely the customer. | 0:08:19 | 0:08:21 | |
It seems a little tight to me. | 0:08:21 | 0:08:23 | |
They are being worn tight this year, sir. | 0:08:23 | 0:08:25 | |
You played on their vanity to secure the sale. | 0:08:25 | 0:08:28 | |
Oh, that does suit madam. | 0:08:28 | 0:08:30 | |
Oh, that does suit madam. | 0:08:32 | 0:08:35 | |
Oh, that does suit madam. | 0:08:36 | 0:08:40 | |
With the seed of an idea and a basic plot, Croft and Lloyd set about fleshing out the script. | 0:08:41 | 0:08:46 | |
Well, David had an extremely good idea, | 0:08:46 | 0:08:49 | |
which was to put the ladies' and gentlemen's department on the same floor. | 0:08:49 | 0:08:53 | |
Who ever heard of a woman's department on this floor? | 0:08:53 | 0:08:55 | |
It's been men's ever since I was a boy. | 0:08:55 | 0:08:58 | |
That Mrs Pankhurst really started something. | 0:08:58 | 0:09:00 | |
That really made the show, I must say, | 0:09:00 | 0:09:02 | |
because there was all the conflict between the ladies and gentlemen. | 0:09:02 | 0:09:05 | |
Mrs Slocombe didn't like to take down your trousers without asking you first. | 0:09:05 | 0:09:09 | |
I think that if Mrs Slocombe wants to make any further inroads into my department, | 0:09:12 | 0:09:17 | |
she had better inform me personally. | 0:09:17 | 0:09:20 | |
David, actually, is brilliant at casting. | 0:09:20 | 0:09:22 | |
We'd all worked together at some time or another, I think. | 0:09:22 | 0:09:26 | |
Except Young Mr Grace, of course. | 0:09:26 | 0:09:29 | |
Young Mr Grace I saw in pantomime in Golders Green, I think. | 0:09:29 | 0:09:32 | |
He was very, very old and I rung up one of his fellow artists | 0:09:32 | 0:09:35 | |
and said, "Do you think he can learn it all right?" | 0:09:35 | 0:09:38 | |
And they said, "Oh, yes. He'll be all right." | 0:09:38 | 0:09:40 | |
You've all done very well. | 0:09:40 | 0:09:44 | |
David has this phenomenal brain. | 0:09:44 | 0:09:48 | |
It's like a casting filing system in his brain | 0:09:48 | 0:09:54 | |
and he'll see you in a small role or something | 0:09:54 | 0:09:58 | |
and he'll file it away in there. | 0:09:58 | 0:10:00 | |
-Down Berrick Road, 35. -Berrick Road. | 0:10:00 | 0:10:04 | |
Yes. I live with my dad. | 0:10:04 | 0:10:05 | |
He's six foot three, so don't you go getting any ideas. | 0:10:05 | 0:10:08 | |
But then when he gets an idea for something new, because his writing | 0:10:10 | 0:10:15 | |
is so good, he'll know exactly who is to play whatever role. | 0:10:15 | 0:10:21 | |
And then it will be your turn to be one of the main characters. | 0:10:21 | 0:10:26 | |
Oh, gosh, my suspender has gone! | 0:10:26 | 0:10:29 | |
-You're not wearing suspenders. -That's what I mean. They've gone. -Oh, get back to... | 0:10:34 | 0:10:39 | |
They knew us all. They knew what we could do. | 0:10:39 | 0:10:41 | |
They knew how to write for us, you know. | 0:10:41 | 0:10:43 | |
So it fitted like a glove. | 0:10:43 | 0:10:45 | |
They were all people who'd done a lot of things before, a lot of shows before. | 0:10:45 | 0:10:49 | |
Trevor Bannister, for instance, had done an awful lot before. | 0:10:49 | 0:10:52 | |
Trevor Bannister had also worked with Croft and Lloyd, | 0:10:52 | 0:10:56 | |
but he was the only person in the cast to be well known to the public, | 0:10:56 | 0:10:59 | |
having been in a huge ITV hit, The Dustbinmen. | 0:10:59 | 0:11:01 | |
To Joe Soap the public, he was more well known than the others. | 0:11:01 | 0:11:05 | |
I mean, the others had done a lot of other stuff, but they hadn't been | 0:11:05 | 0:11:08 | |
on a weekly series in the same way that Trevor had. | 0:11:08 | 0:11:11 | |
I lead a very demanding social life. | 0:11:11 | 0:11:15 | |
-Doing what? -You dirty pig. | 0:11:15 | 0:11:18 | |
Pardon? | 0:11:18 | 0:11:21 | |
I'm a sex symbol. Highly irresistible to the feminine gender. | 0:11:21 | 0:11:25 | |
Every housewife bin I empty. They can't help it, you see. They all want to undress me. | 0:11:25 | 0:11:29 | |
As for John Inman, he was just a jobbing actor at the time | 0:11:29 | 0:11:31 | |
and was not really known, apart from occasional stage and TV work. | 0:11:31 | 0:11:35 | |
When John Inman joined the cast, I think he was working selling hats at Austin Reed's | 0:11:35 | 0:11:40 | |
and he came in for the interview and never went back to Austin Reed's, although he'd been doing lots | 0:11:40 | 0:11:45 | |
of things before then, but when actors are not working, | 0:11:45 | 0:11:48 | |
they have to go and do something else that's not acting. | 0:11:48 | 0:11:51 | |
So when David Croft offered him the part of Mr Humphries, he was only going to give one answer. | 0:11:51 | 0:11:56 | |
Yes, of course John would, because John was out of work. | 0:11:56 | 0:12:01 | |
With the cast in place, work started on the pilot | 0:12:01 | 0:12:04 | |
and its aim was to replicate the success of a gang-show sitcom that Croft had initiated with Dad's Army. | 0:12:04 | 0:12:10 | |
I didn't realise till recently, but apparently, my claim to fame | 0:12:10 | 0:12:13 | |
is that I was actually the very first customer | 0:12:13 | 0:12:16 | |
to walk through the doors of Grace Brothers. | 0:12:16 | 0:12:18 | |
-What size are you, sir? -Well, as a matter of fact, I was looking for the gents. | 0:12:18 | 0:12:23 | |
The trouble with pilots is that it's new | 0:12:23 | 0:12:26 | |
and the actors are a bit uptight, of course, | 0:12:26 | 0:12:29 | |
and you don't quite know how it's going to go. | 0:12:29 | 0:12:32 | |
Look, what's me not having a baby got to do with him not taking his trousers down? | 0:12:32 | 0:12:36 | |
The original character was only supposed to appear in the pilot. | 0:12:38 | 0:12:42 | |
Their idea was that they needed Rumbold | 0:12:42 | 0:12:45 | |
to introduce people and that they wouldn't need Rumbold after that. | 0:12:45 | 0:12:49 | |
But, and I took it as rather a nice compliment, they decided that they did need Rumbold after all. | 0:12:49 | 0:12:55 | |
So there I was throughout the whole thing. | 0:12:55 | 0:12:57 | |
-Did you and Mrs Rumbold have a nice holiday? -Oh, yes, thank you. We went to the Coconut Islands. | 0:12:57 | 0:13:01 | |
Oh. | 0:13:01 | 0:13:04 | |
Also, Croft and Lloyd felt the store Mr Rumbold was to manage would need | 0:13:04 | 0:13:08 | |
to be a bit more down-market than the one it had been based on. | 0:13:08 | 0:13:11 | |
It was a kind of old-fashioned shop, if you know what I mean, | 0:13:11 | 0:13:15 | |
in a funny sort of way, because shops were changing at that time. | 0:13:15 | 0:13:18 | |
Don't worry about me. I don't wear 'em. | 0:13:18 | 0:13:23 | |
Bras, I mean. | 0:13:23 | 0:13:24 | |
I'm sure it's against staff regulations. | 0:13:24 | 0:13:26 | |
Still, I'm always prepared to look the other way. | 0:13:26 | 0:13:29 | |
You could've fooled me. | 0:13:29 | 0:13:30 | |
The set that we had, actually, was a sort of down-market Simpson's. | 0:13:30 | 0:13:36 | |
It was a sort of Bon Marche type of set. | 0:13:36 | 0:13:38 | |
And we didn't want it to look too up-market and it certainly didn't. | 0:13:38 | 0:13:43 | |
I would have thought more like Gamages actually, | 0:13:47 | 0:13:50 | |
because it was such a sort of a muddle. | 0:13:50 | 0:13:52 | |
Probably Pontings and Barkers could have been similar from the way they acted. | 0:13:52 | 0:13:57 | |
That's better... Ooh, look what you've done to the nose! | 0:13:57 | 0:14:02 | |
-Ooh, you've ruined it! -No, I haven't. I haven't ruined it. | 0:14:02 | 0:14:07 | |
Well, they always look too perfect, these models anyway, don't they? | 0:14:07 | 0:14:10 | |
I mean, people do have crooked noses, you know. | 0:14:10 | 0:14:13 | |
Somebody might come in one day with a crooked nose, look at that dress | 0:14:13 | 0:14:16 | |
and say, "I'll have that dress. It'll go with my crooked nose." | 0:14:16 | 0:14:19 | |
It does make me laugh when you see interviews with the writers | 0:14:19 | 0:14:22 | |
and they talk about how they actually worked in shops like that | 0:14:22 | 0:14:25 | |
and all their research was based on their real-life experiences | 0:14:25 | 0:14:29 | |
and you think, "There was never anywhere like that ever!" | 0:14:29 | 0:14:32 | |
This is from our kung-fu range. | 0:14:32 | 0:14:35 | |
Quite a little relaxing thing it is. | 0:14:35 | 0:14:37 | |
Plenty of room under the arms for movement. | 0:14:37 | 0:14:40 | |
I get quite carried away when I put one of... HE SCREAMS | 0:14:40 | 0:14:43 | |
Some people would say it was set at the time it was actually filmed | 0:14:45 | 0:14:49 | |
and some people would say it was set earlier. | 0:14:49 | 0:14:53 | |
I think the look was based on a sort of '50s look | 0:14:53 | 0:14:59 | |
with Art Deco design put into the set itself. | 0:14:59 | 0:15:06 | |
Even though cast and crew felt the pilot had potential, the BBC decided it wasn't for them. | 0:15:06 | 0:15:14 | |
They didn't show it cos they didn't like it. | 0:15:14 | 0:15:16 | |
It was looking like only a miracle would save Are You Being Served? | 0:15:16 | 0:15:20 | |
Instead, it was a tragedy. | 0:15:20 | 0:15:23 | |
The Olympics of serenity have become the one thing the Germans didn't want them to be - | 0:15:23 | 0:15:27 | |
the Olympics of terror. | 0:15:27 | 0:15:28 | |
It was during the 1972 Munich Olympics | 0:15:28 | 0:15:32 | |
when terrorists kidnapped and murdered members of the Israeli team. | 0:15:32 | 0:15:37 | |
The games were postponed as a mark of respect for the dead. | 0:15:37 | 0:15:40 | |
The Olympic Games stands still. | 0:15:40 | 0:15:43 | |
The flags in the stadium at half mast. | 0:15:43 | 0:15:47 | |
Suddenly, the BBC found themselves with a gap in their schedules. | 0:15:47 | 0:15:51 | |
The BBC were desperate, with the blank screens, to put something on and they had a shelf with tapes on. | 0:15:53 | 0:15:59 | |
They said, "We've got that third-rate Comedy Playhouse thing. We'll stick that on." | 0:15:59 | 0:16:03 | |
As a result of that exposure, it got a very, very large audience. | 0:16:03 | 0:16:07 | |
Gawd blimey! Women drivers! | 0:16:10 | 0:16:12 | |
That'll do, Mr Mash. Instead of standing there making your sarcastic remarks, you could give us a hand. | 0:16:12 | 0:16:17 | |
They said, "Hello, we've got a success on our hands." | 0:16:17 | 0:16:21 | |
Having trouble with Mrs Slocombe? | 0:16:21 | 0:16:23 | |
-All that women's lib's gone to her head, mate. -Oh, I hope not. | 0:16:23 | 0:16:26 | |
If she burns her bra, we'll have to call out the London Fire Brigade. | 0:16:26 | 0:16:31 | |
Bill Cotton, who was the head of the BBC comedy department at the time, said, "Get rid of John Inman." | 0:16:31 | 0:16:36 | |
We'll take the series, but I don't want the poof." | 0:16:36 | 0:16:38 | |
There, there, Mr Grainger. Now you mustn't upset yourself. | 0:16:38 | 0:16:41 | |
-We're right behind you, aren't we, Mr Lucas? -Oh, right up to the hilt. | 0:16:41 | 0:16:44 | |
And we said, "No, he's marvellous," | 0:16:44 | 0:16:47 | |
you know, "and if you could bottle his charismatic charm, it would be of industrial strength." | 0:16:47 | 0:16:54 | |
-She's got a nerve! -What's the matter now? | 0:16:54 | 0:16:55 | |
She wants to remove my shirt and put a bra there instead. | 0:16:55 | 0:16:58 | |
So we went into series and did another half dozen, I think it was, to go out as a whole package. | 0:16:58 | 0:17:05 | |
One major development from the pilot was Mrs Slocombe's hair. | 0:17:09 | 0:17:14 | |
Mollie Sugden felt her character would give | 0:17:14 | 0:17:16 | |
Grace Brothers' hairdressing department a run for their money. | 0:17:16 | 0:17:19 | |
When David rang and said it was going to a series, | 0:17:19 | 0:17:22 | |
I thought, "Well, I've got to do something about my hair." | 0:17:22 | 0:17:25 | |
And that's when I got the idea. | 0:17:25 | 0:17:27 | |
And so I just... When I turned up for the first rehearsal, | 0:17:27 | 0:17:32 | |
I suggested that would it be a good idea | 0:17:32 | 0:17:34 | |
to have different coloured hair every week and David... | 0:17:34 | 0:17:37 | |
..which I took to mean "yes". | 0:17:39 | 0:17:41 | |
It was a very funny idea. | 0:17:41 | 0:17:43 | |
It was a damn nuisance actually, | 0:17:43 | 0:17:45 | |
because it meant if you wanted to do a retake, | 0:17:45 | 0:17:47 | |
you had to make your mind up whether the scene was over. | 0:17:47 | 0:17:50 | |
It was during the first series that John Inman began to make his mark on the gangshow comedy. | 0:17:52 | 0:17:57 | |
I wasn't aware that he'd suddenly shine out in the way that he did, but I think the first time | 0:17:57 | 0:18:04 | |
people roared with laughter was when Captain Peacock said, "Are you free?" | 0:18:04 | 0:18:08 | |
Yes, I'm free, Captain Peacock. | 0:18:08 | 0:18:10 | |
He had an extraordinary walk as he walked across the floor, | 0:18:10 | 0:18:13 | |
which got a tremendous laugh, so we kept that in. | 0:18:13 | 0:18:16 | |
It actually came from a shop assistant in Austin Reed's, | 0:18:16 | 0:18:21 | |
who had metal bits on his heels. | 0:18:21 | 0:18:23 | |
Gradually, his part built up just because of his charismatic character, I would say. | 0:18:23 | 0:18:30 | |
What is the reason for this masquerade? | 0:18:30 | 0:18:32 | |
Well, I just wanted to look like an average man in the street. | 0:18:32 | 0:18:34 | |
The mannerisms came and he blossomed into this full-blown figure, which is, you know, | 0:18:36 | 0:18:42 | |
"I'm free!", Mr Humphries, you see. | 0:18:42 | 0:18:44 | |
Yes, I'm free, Mr Grainger. | 0:18:44 | 0:18:47 | |
We've never deliberately written a catchphrase, because you don't know what will take off. | 0:18:47 | 0:18:51 | |
But when one does take off, you hear about it afterwards. | 0:18:51 | 0:18:54 | |
Suddenly, everybody's saying it. | 0:18:54 | 0:18:55 | |
I'm free. I'm free, Mr Lucas. | 0:18:55 | 0:18:58 | |
-The gentleman wishes to try on a dress. -I'm free. | 0:18:58 | 0:19:01 | |
It did catch on very quickly because it was something that everybody said. | 0:19:03 | 0:19:07 | |
-I'm free. -I'm free. | 0:19:07 | 0:19:09 | |
-I'm free. -I'm free. -I'm free. | 0:19:09 | 0:19:11 | |
-I'm free. -I'm free. | 0:19:11 | 0:19:14 | |
I think the viewers appreciated series two onwards more, | 0:19:15 | 0:19:20 | |
purely because they were more aware of the characters, | 0:19:20 | 0:19:24 | |
the idiosyncrasies of the characters. | 0:19:24 | 0:19:26 | |
-Your customer's approaching, Mr Lucas. -Carry on, Mr Lucas. | 0:19:26 | 0:19:32 | |
Just my luck! | 0:19:32 | 0:19:33 | |
None of the characters actually liked each other very much. | 0:19:35 | 0:19:38 | |
It's rather strange. We used to find that the public would say, "Oh, you all look as if you're such a team. | 0:19:38 | 0:19:43 | |
"You get on so well." We didn't. | 0:19:43 | 0:19:45 | |
We were stabbing each other in the back all the time. | 0:19:45 | 0:19:47 | |
Ernest, I've just had a complaint from Mrs Slocombe about young Mr Lucas. | 0:19:47 | 0:19:52 | |
-Go on. -Apparently, he allowed one of his customers to appear | 0:19:52 | 0:19:56 | |
in full view of her department in a state of undress. | 0:19:56 | 0:19:58 | |
It's the friction between two people that makes it comedy. | 0:19:58 | 0:20:03 | |
Where are you going, Mr Lucas? | 0:20:03 | 0:20:05 | |
I was just stretching my legs, Captain Peacock. | 0:20:05 | 0:20:08 | |
-Back to your own area. -Sir! | 0:20:08 | 0:20:10 | |
Blimey, it's like being in Colditz. | 0:20:10 | 0:20:12 | |
There were always sub-plots and, of course, Mr Lucas was always keen on Miss Brahms | 0:20:12 | 0:20:16 | |
and would occasionally fire the odd note with an elastic band over to her, | 0:20:16 | 0:20:20 | |
saying, "I don't half fancy you." | 0:20:20 | 0:20:22 | |
And Captain Peacock would pick it up and hand it to Mrs Slocombe, | 0:20:22 | 0:20:25 | |
who thought it was from him. That sort of thing. | 0:20:25 | 0:20:27 | |
"Dear sexy knickers..." | 0:20:30 | 0:20:33 | |
There was always something that happened. Mr Grace's birthday. | 0:20:35 | 0:20:38 | |
# Happy birthday to you | 0:20:38 | 0:20:41 | |
# Happy birthday to you | 0:20:41 | 0:20:44 | |
# Happy birthday, Mr Grace | 0:20:44 | 0:20:47 | |
# Happy birthday to you. # | 0:20:47 | 0:20:51 | |
I'm stuck! | 0:20:51 | 0:20:53 | |
There was always a plot and that's all you needed, just the basis of the plot, to hang all the words on. | 0:20:53 | 0:20:59 | |
It even had industrial relations from time to time. | 0:20:59 | 0:21:01 | |
The unions were very strong at that time and people were having a lot of strikes. | 0:21:01 | 0:21:06 | |
"They're out. Traffic chaos." | 0:21:06 | 0:21:08 | |
Ha! Up the workers! | 0:21:08 | 0:21:10 | |
Particularly years in the '70s... | 0:21:10 | 0:21:11 | |
'72, '73, '74 and again at the end of the '70s, | 0:21:11 | 0:21:14 | |
during the Winter of Discontent... | 0:21:14 | 0:21:16 | |
there were great surges of strike action on a scale that had not been seen | 0:21:16 | 0:21:20 | |
since the General Strike 50 years before. | 0:21:20 | 0:21:22 | |
So strikes, the experience of being on strike, the experience of suffering | 0:21:22 | 0:21:25 | |
from a strike as a consumer, were very familiar to people who were watching Are You Being Served? | 0:21:25 | 0:21:30 | |
in a way that they wouldn't be to viewers now. | 0:21:30 | 0:21:32 | |
Look, one of the ways of bringing our grievances to the attention | 0:21:32 | 0:21:35 | |
of the hierarchy is to bung up the loos with plaster of Paris. | 0:21:35 | 0:21:39 | |
We did have Mr Mash, who was head of the union, calling everybody out on strike. | 0:21:39 | 0:21:44 | |
It has everything to do with me, Brother Slocombe. | 0:21:44 | 0:21:47 | |
I am shop steward and in that capacity I am convening an emergency | 0:21:49 | 0:21:53 | |
meeting in accordance with section 23 of the rule book. | 0:21:53 | 0:21:56 | |
Mrs Slocombe said, "I'm not a brother." | 0:21:56 | 0:21:58 | |
He said, "You're a brother now, cos you're in the union." | 0:21:58 | 0:22:00 | |
Your tea should start when you sit and actually dip your biscuit in the cup. | 0:22:00 | 0:22:05 | |
-Ooh, doesn't he speak well? -Thank you, brother. | 0:22:08 | 0:22:11 | |
I am now about to put the motion on the table. | 0:22:11 | 0:22:14 | |
Some of the phrases are strange. | 0:22:14 | 0:22:17 | |
Now you could take that as a double entendre or not, as you like. | 0:22:18 | 0:22:22 | |
And one of the most iconic things | 0:22:25 | 0:22:27 | |
Are You Being Served? was famous for was its double entendres. | 0:22:27 | 0:22:31 | |
Are you all right, sir? | 0:22:31 | 0:22:34 | |
Well, it's not very often an 81-year-old man | 0:22:34 | 0:22:38 | |
gets stuck in the lift with a 19-year-old secretary. | 0:22:38 | 0:22:41 | |
Course I'm all right. Shut the doors. | 0:22:41 | 0:22:44 | |
The family could be watching it and roaring with laughter. | 0:22:44 | 0:22:47 | |
The children would think, "I don't know what they're laughing at, but it does seem to be funny." | 0:22:47 | 0:22:51 | |
Don't let Peacock see you fraternising over there, | 0:22:51 | 0:22:54 | |
otherwise you'll get the rough edge of his tongue | 0:22:54 | 0:22:57 | |
and I can tell you, it isn't very pleasant. | 0:22:57 | 0:23:00 | |
I don't think David and I thought it was risque humour, because it was our sort of humour. | 0:23:00 | 0:23:04 | |
I never have any trouble in getting up in the morning. | 0:23:04 | 0:23:07 | |
My pussy's just like an alarm clock. | 0:23:07 | 0:23:10 | |
All the pussy jokes were about a cat, you do understand? | 0:23:10 | 0:23:13 | |
Any other inferences are entirely in your mind. | 0:23:13 | 0:23:19 | |
You're lucky to have me at all, Captain Peacock. | 0:23:19 | 0:23:22 | |
I had to thaw me pussy out before I came. | 0:23:22 | 0:23:25 | |
Mollie never played it with anything but truth and sincerity. | 0:23:26 | 0:23:30 | |
Oh, Mr Rumbold, I hope this isn't going to take long. | 0:23:30 | 0:23:34 | |
My pussy's been locked up for eight hours. | 0:23:34 | 0:23:37 | |
I'm afraid it's just not convenient. | 0:23:37 | 0:23:39 | |
I think it was obligatory to have at least one pussy joke, yes, per episode, yes. | 0:23:39 | 0:23:45 | |
All totally harmless and above board. | 0:23:45 | 0:23:47 | |
Well, the central heating broke down. | 0:23:47 | 0:23:50 | |
I had to light the oven and hold my pussy in front of it. | 0:23:50 | 0:23:54 | |
Having worked for David Croft in many productions, you don't chip in with ideas. | 0:23:54 | 0:23:59 | |
You can suggest something, possibly, and one in 100 might get accepted. | 0:23:59 | 0:24:02 | |
It isn't an actor's job actually to invent lines. It's our job. | 0:24:02 | 0:24:07 | |
So this was not encouraged. | 0:24:07 | 0:24:10 | |
However, real-life experiences of the actors | 0:24:10 | 0:24:12 | |
would sometimes get a hearing and find their way into the scripts. | 0:24:12 | 0:24:16 | |
Thank you, sir. Don't worry about the sleeves. | 0:24:16 | 0:24:18 | |
-They'll ride up with wear. -Thank you very much indeed. | 0:24:18 | 0:24:21 | |
I'd gone to my local little tailor | 0:24:21 | 0:24:23 | |
and I bought a corduroy jacket off the peg, you know. | 0:24:23 | 0:24:30 | |
And I put it on and it was a bit... | 0:24:30 | 0:24:32 | |
Like this. | 0:24:32 | 0:24:34 | |
And I think the sleeves were a bit long, you see. | 0:24:34 | 0:24:39 | |
And he said, "It'll ride up with wear." | 0:24:39 | 0:24:43 | |
I thought, "That's a good line. We must use that." And we did. | 0:24:43 | 0:24:48 | |
Don't worry about the sleeves, sir. | 0:24:48 | 0:24:50 | |
They'll ride up with wear. | 0:24:50 | 0:24:52 | |
They'll come down, sir, with wear. | 0:24:52 | 0:24:53 | |
They'll ride up with wear. | 0:24:53 | 0:24:56 | |
Don't worry if the wig is a little loose, madam. | 0:24:56 | 0:24:58 | |
You'll find it will ride up with wear. | 0:24:58 | 0:25:00 | |
They'll ride up with wear. | 0:25:00 | 0:25:03 | |
Don't worry, madam, they'll ride up with wear. Everything does. | 0:25:03 | 0:25:07 | |
And sometimes the scripts would require something a bit different, | 0:25:09 | 0:25:12 | |
aided and abetted by the props department. | 0:25:12 | 0:25:15 | |
The special effects department loved doing the show because they could invent things. | 0:25:24 | 0:25:29 | |
Anything I asked them for, they would just make it that much better. | 0:25:29 | 0:25:34 | |
An exploding cat, for instance. | 0:25:34 | 0:25:36 | |
They were like a lot of schoolboys and they loved doing the show. | 0:25:38 | 0:25:41 | |
I remember the Father Christmas one that opened his raincoat. | 0:25:41 | 0:25:47 | |
Ho ho ho, little boy. | 0:25:47 | 0:25:49 | |
Have I got a surprise for you. | 0:25:49 | 0:25:50 | |
And we used to look forward to Friday, when the special effects men came. | 0:26:01 | 0:26:06 | |
What are they gonna do? | 0:26:06 | 0:26:08 | |
However wayward your figure, the Flexi-bra will cling to it and control it. | 0:26:08 | 0:26:13 | |
What worked less well were Grace Brothers' famous lift doors. | 0:26:16 | 0:26:19 | |
Give us a hand. I've got Mrs Slocombe in here. | 0:26:19 | 0:26:23 | |
You push that side. I'll push this. | 0:26:25 | 0:26:27 | |
- Now, push! - Push! | 0:26:27 | 0:26:29 | |
The lift, yes! | 0:26:31 | 0:26:33 | |
We had a lot of different devices in order to open those doors | 0:26:33 | 0:26:36 | |
to the right cue and none of them seemed to work. | 0:26:36 | 0:26:39 | |
So the lift was... I used to say, "Cue the lift," | 0:26:39 | 0:26:42 | |
and I just crossed my fingers and hoped for the best, you know. | 0:26:42 | 0:26:46 | |
Shut, sesame! | 0:26:46 | 0:26:49 | |
18. Two 18s, 36... | 0:26:49 | 0:26:53 | |
It was only two fellas at the back pushing two doors across on cue and, erm... | 0:26:53 | 0:27:00 | |
But even so, they'd get stuck. | 0:27:00 | 0:27:02 | |
Captain Peacock, in acknowledgement of your... Mr Lucas, the button! | 0:27:02 | 0:27:06 | |
Sometimes we'd be stood in there for ages | 0:27:06 | 0:27:09 | |
while they messed on with the lift doors. But erm... | 0:27:09 | 0:27:12 | |
There weren't really such things as retakes then and we had to do that | 0:27:12 | 0:27:16 | |
or otherwise you wouldn't have got the cast out and on the floor. | 0:27:16 | 0:27:19 | |
Gawd, blimey! | 0:27:25 | 0:27:28 | |
Ain't there no privacy anywhere? | 0:27:28 | 0:27:30 | |
They were a wonderful cast. The thing is, they'd rehearse in the morning. | 0:27:30 | 0:27:34 | |
They'd go out for lunch and have a drink in the local pub and sometimes they'd come back in the afternoon. | 0:27:34 | 0:27:40 | |
And on studio days, lunch became a production in itself. | 0:27:40 | 0:27:43 | |
Do you know, I can't remember whether this is chicken soup or vegetable. | 0:27:43 | 0:27:47 | |
-Well, taste it. -Well, that's not going to make any difference. | 0:27:47 | 0:27:50 | |
The canteen was more or less shut then, or it was a very small | 0:27:50 | 0:27:55 | |
attendance, so we used to have a sort of picnic in the dressing rooms. | 0:27:55 | 0:27:59 | |
It was probably Wendy initiating good food and she would do the main course. | 0:27:59 | 0:28:05 | |
John would do the dessert. | 0:28:05 | 0:28:07 | |
Trevor would do the crisps and the biscuits. | 0:28:07 | 0:28:11 | |
Poor Mollie would be having her hair done, which was so ornate for the most time. | 0:28:11 | 0:28:16 | |
We used to look in the script at the beginning of the week | 0:28:16 | 0:28:18 | |
to see if there was any canteen scenes, | 0:28:18 | 0:28:20 | |
so we could nick the cutlery and china. | 0:28:20 | 0:28:21 | |
We put it back. Wash it and put it back afterwards. | 0:28:21 | 0:28:23 | |
-It was nearly always in my room. -Yeah. | 0:28:23 | 0:28:25 | |
Usually after lunch, whoever wasn't back first had to do the washing-up. | 0:28:25 | 0:28:30 | |
But we had to do it in the bath, you know. | 0:28:30 | 0:28:32 | |
-They have bathrooms in... -As you do, yes. | 0:28:32 | 0:28:33 | |
As the series developed, the cast fast became household names | 0:28:33 | 0:28:38 | |
and would often be in demand on the entertainment shows of the '70s. | 0:28:38 | 0:28:42 | |
Pay a visit to this absolutely diddy-filarious | 0:28:42 | 0:28:45 | |
new store in Blackpool, Grace Brothers, where all the cast say, "Are you being served?" | 0:28:45 | 0:28:51 | |
However, John Inman began to outshine the others. | 0:28:58 | 0:29:02 | |
He was a very funny man. Easy to exploit his talent. | 0:29:02 | 0:29:05 | |
He did become terribly popular. | 0:29:05 | 0:29:10 | |
Let's have a big hand on his entrance, if you please, | 0:29:10 | 0:29:12 | |
ladies and gentlemen, for that wayward Peter Pan from men's outfitters. | 0:29:12 | 0:29:15 | |
Please welcome Mr John Inman. Are you free? | 0:29:15 | 0:29:17 | |
John sort of came to the fore and didn't eclipse the others, but was the main focus a lot of the time. | 0:29:21 | 0:29:27 | |
-I shall warm the end for you first. -Oh, please do. | 0:29:27 | 0:29:30 | |
He's done all of Big Fun's stage gear... | 0:29:32 | 0:29:34 | |
Now then... | 0:29:34 | 0:29:36 | |
We were doing the summer season of Are You Being Served? in Blackpool | 0:29:36 | 0:29:40 | |
and John's a Blackpool boy. | 0:29:40 | 0:29:41 | |
Walking along the street with him and I was just a tiny bit behind him, | 0:29:41 | 0:29:45 | |
but looking at people's faces as they walked towards him, | 0:29:45 | 0:29:48 | |
they were all so pleased to see him. | 0:29:48 | 0:29:50 | |
I mean, they really loved him. | 0:29:50 | 0:29:52 | |
The BBC's Television Personality of the Year. | 0:29:52 | 0:29:55 | |
Forward, Mr Inman! | 0:29:55 | 0:29:58 | |
APPLAUSE | 0:29:58 | 0:30:01 | |
In some of the episodes, obviously, they relied on him, | 0:30:01 | 0:30:06 | |
because some of them were a bit flat. | 0:30:06 | 0:30:09 | |
Oh, it's started me leg off. | 0:30:09 | 0:30:12 | |
This hasn't happened to me since I was a prefect in me primary. | 0:30:12 | 0:30:16 | |
-Is there anything we can do to stop it? -No, it's all right. It'll turn to hiccups in a minute. | 0:30:16 | 0:30:20 | |
-HIC! Told you. -Now what do we do? | 0:30:20 | 0:30:23 | |
Well, my teacher, Miss Hasswell, she used to get one of the boys to creep up behind me and give me a surprise. | 0:30:23 | 0:30:30 | |
John was such a hit that in the middle of the series, | 0:30:31 | 0:30:34 | |
he was offered a job running a rock factory by ITV, I think, and he sort of abandoned us for a short while. | 0:30:34 | 0:30:41 | |
And this is what I want. | 0:30:46 | 0:30:48 | |
Hundreds of them coming off the assembly line. | 0:30:48 | 0:30:51 | |
We must keep going like we did before, | 0:30:51 | 0:30:53 | |
keeping the wheels of the Littlehampton Rock Factory turning faster than ever. | 0:30:53 | 0:30:57 | |
Percy, turn the wheel and let's get cracking. | 0:30:57 | 0:30:59 | |
It was quite inevitable that certain people in the cast | 0:31:09 | 0:31:12 | |
would have their own shows afterwards, | 0:31:12 | 0:31:13 | |
like Mollie and John Inman. | 0:31:13 | 0:31:15 | |
Sometimes it works and sometimes it doesn't. | 0:31:15 | 0:31:18 | |
He was offered so much more money if he would sign an exclusive contract. | 0:31:18 | 0:31:22 | |
I mean, David Croft, I don't think it's any secret, was very annoyed. | 0:31:22 | 0:31:26 | |
He just said, "That's all right. We'll just replace him. | 0:31:26 | 0:31:29 | |
"Or we'll get somebody else to fit in that part." | 0:31:29 | 0:31:32 | |
But the BBC said, to everyone's surprise, you can't do it without John Inman. | 0:31:32 | 0:31:37 | |
So for 18 months we didn't do it. | 0:31:37 | 0:31:39 | |
And then, of course, they did This Is Your Life. | 0:31:39 | 0:31:41 | |
And I think I said to him, "How's the rock factory going?" | 0:31:47 | 0:31:50 | |
as I was congratulating him. He said, "Don't ask." | 0:31:50 | 0:31:53 | |
With John Inman not available, Croft and Lloyd signed Mollie Sugden up for her own series on the BBC. | 0:31:53 | 0:31:59 | |
We wrote a thing called Come Back Mrs Noah, | 0:31:59 | 0:32:02 | |
which was an idea of David's, | 0:32:02 | 0:32:04 | |
which was Britain's first spaceship, which she's won a knitting competition. | 0:32:04 | 0:32:09 | |
And she's the first person to be shown round it and it accidentally... | 0:32:09 | 0:32:12 | |
She presses a button and it takes off. | 0:32:12 | 0:32:16 | |
Now, can I go to the little girls' room? | 0:32:16 | 0:32:20 | |
Often unfairly described as the worst sitcom ever. | 0:32:20 | 0:32:22 | |
It wasn't really. It was quite funny. | 0:32:22 | 0:32:24 | |
Agh! Agh! | 0:32:24 | 0:32:26 | |
In those days, unfortunately, the special effects weren't really up to scratch. | 0:32:26 | 0:32:31 | |
You could, if you looked clearly at the screen, you could see the wires supporting her in the air. | 0:32:31 | 0:32:36 | |
Mrs Noah didn't come back and John Inman's rock factory closed. | 0:32:42 | 0:32:47 | |
The series that he went into was a complete disaster, | 0:32:47 | 0:32:50 | |
sad to say, | 0:32:50 | 0:32:52 | |
and so he then came back and we then went on with Are You Being Served? | 0:32:52 | 0:32:57 | |
So John Inman returned to the BBC and his role of Mr Humphries, | 0:33:02 | 0:33:06 | |
only to have to deal with problems off-screen. | 0:33:06 | 0:33:09 | |
Whilst the series was very popular, | 0:33:09 | 0:33:12 | |
John Inman got a lot of flak from gay organisations, | 0:33:12 | 0:33:16 | |
saying that he was taking the mickey out of gay actors. | 0:33:16 | 0:33:19 | |
Are you free, Mr Grainger? | 0:33:19 | 0:33:21 | |
I couldn't see what they were objecting to, personally. | 0:33:21 | 0:33:24 | |
He was portraying a character that I've certainly met. | 0:33:24 | 0:33:27 | |
I've met actually being served by characters like that in big stores. | 0:33:27 | 0:33:32 | |
Mr Humphries, Mr Lucas, are you free? | 0:33:32 | 0:33:35 | |
Yes, we're free, Captain Peacock. | 0:33:35 | 0:33:38 | |
We never wrote him as a homosexual. | 0:33:38 | 0:33:40 | |
I thought he was very like people I'd worked with at Simpson's | 0:33:40 | 0:33:44 | |
who were, you know, just rather sort of, slightly effete. | 0:33:44 | 0:33:49 | |
Mummy's boy, used to put his slippers in the oven at regulo four | 0:33:49 | 0:33:52 | |
to be switched on just before he got home, so they'd be warm. | 0:33:52 | 0:33:55 | |
Yes, of course I'm still your little boy. | 0:33:55 | 0:33:59 | |
No, I haven't changed a bit. | 0:33:59 | 0:34:02 | |
Well, not much. | 0:34:02 | 0:34:04 | |
I think he's fun. | 0:34:04 | 0:34:05 | |
I think he's funny and don't tell me that gay men like that don't exist. | 0:34:05 | 0:34:09 | |
They absolutely do. | 0:34:09 | 0:34:11 | |
Just think of the thousands of inside legs that that's done. | 0:34:11 | 0:34:15 | |
The only time I do have a problem with it is when you see the writers of Are You Being Served? | 0:34:15 | 0:34:20 | |
claiming he's not gay. | 0:34:20 | 0:34:22 | |
-What sort of a school did you go to, Mr Humphries? -Mixed. | 0:34:22 | 0:34:24 | |
Oh, yeah, girls and boys? | 0:34:24 | 0:34:26 | |
No, just boys. | 0:34:26 | 0:34:28 | |
Then I simply have to shrug and say that a writer does not know | 0:34:29 | 0:34:33 | |
his own text, because Mr Humphries is absolutely a gay man. | 0:34:33 | 0:34:37 | |
Oh, it's the Masked Stranger. Take my body but leave my jewels alone. | 0:34:37 | 0:34:42 | |
I was in New Zealand playing a club, a cabaret club, | 0:34:42 | 0:34:47 | |
and I got there and there were pickets outside, | 0:34:47 | 0:34:53 | |
saying don't go and see this. | 0:34:53 | 0:34:57 | |
They thought that Mr Humphries was a homosexual, | 0:34:57 | 0:35:00 | |
which I fought against for most of the series, you know. | 0:35:00 | 0:35:04 | |
I'm always saying unless you see him doing it over the counter, how do you know? | 0:35:04 | 0:35:07 | |
You know, I'm surprised you didn't wear the whole uniform. | 0:35:07 | 0:35:10 | |
Oh, well, I used to, but people kept wanting to touch me collar for luck. | 0:35:10 | 0:35:13 | |
I bet you met a lot of nice girls that way. | 0:35:13 | 0:35:16 | |
I did. | 0:35:16 | 0:35:18 | |
Not to mention a roving reporter, a trendy bishop, a string-vestite | 0:35:18 | 0:35:22 | |
and a dustman with a very interesting tale to tell. | 0:35:22 | 0:35:25 | |
That camp... | 0:35:25 | 0:35:27 | |
And camp itself is very much part of the showbusiness tradition | 0:35:27 | 0:35:31 | |
and people enjoy it and it's not even to do with your sexuality. It's to do with camp. | 0:35:31 | 0:35:35 | |
I like to make it quite clear that being of an affectionate | 0:35:35 | 0:35:38 | |
nature I have many friends of all shapes, sizes and sexes. | 0:35:38 | 0:35:43 | |
Even this morning I had some amorous advances from a rag and bone man's horse which I repulsed. | 0:35:43 | 0:35:50 | |
You can see in John Inman that development of Kenneth Williams | 0:35:50 | 0:35:53 | |
in Round The Horne, Julian and Sandy, all the Polari and stuff like that. | 0:35:53 | 0:35:57 | |
Sort of carnival language I think that gay men would use as a secret code. | 0:35:57 | 0:36:01 | |
We do our own edition of Shakespeare, don't we? | 0:36:01 | 0:36:04 | |
-Lovely, mm! -We've rewritten it ourselves in up to date Polari. | 0:36:04 | 0:36:07 | |
Includes such things as Much Ado About Nanti. | 0:36:07 | 0:36:11 | |
All's Bona That Ends Bona. | 0:36:11 | 0:36:14 | |
Two Omis of Verona. | 0:36:14 | 0:36:17 | |
And As They Like It. | 0:36:17 | 0:36:20 | |
It's like smuggling things in under mainstream television. | 0:36:20 | 0:36:23 | |
Mr Humphries was a step on from that and actually it was overt. | 0:36:23 | 0:36:27 | |
He didn't need Polari so much. | 0:36:27 | 0:36:29 | |
He didn't need to speak in code. | 0:36:29 | 0:36:31 | |
He is a sense that things are getting better. | 0:36:31 | 0:36:32 | |
Ooow! | 0:36:32 | 0:36:35 | |
What on earth are you doing, Mr Humphries? | 0:36:35 | 0:36:38 | |
There's a mouse round my drawers! | 0:36:38 | 0:36:40 | |
Fellow cast member Wendy Richard was also doing battle | 0:36:42 | 0:36:46 | |
with outside elements, only these were closer to home. | 0:36:46 | 0:36:50 | |
I was aware that Wendy had some personal problems, | 0:36:50 | 0:36:55 | |
usually to do with her boyfriends at the time. | 0:36:55 | 0:36:58 | |
I think she arrived with a black eye now and then. | 0:37:00 | 0:37:03 | |
We would hear about it, but the make-up department would take care of it. | 0:37:06 | 0:37:09 | |
Jo Austin, a PA on the show, would often stay with Wendy Richard after the recordings. | 0:37:09 | 0:37:15 | |
You'd hear the arguments and other worse things and so on. | 0:37:15 | 0:37:20 | |
I mean, there was one particular sort of thing. | 0:37:20 | 0:37:26 | |
I heard her saying, "Don't hit my face! Don't cut my face!" | 0:37:26 | 0:37:32 | |
You know, and what do you say? | 0:37:32 | 0:37:36 | |
She'd come perhaps and talk to me about it and I'd understand. | 0:37:38 | 0:37:43 | |
So maybe I hope that I reciprocated. | 0:37:43 | 0:37:48 | |
With what she gave me I was able to give her something back. | 0:37:48 | 0:37:51 | |
Wendy did talk about those things. | 0:37:51 | 0:37:53 | |
One was sympathetic and so on, but that was within our little confine. | 0:37:53 | 0:38:00 | |
I do hope I'm not too late. | 0:38:04 | 0:38:07 | |
I'm afraid Mrs Grainger failed to rouse me this morning. | 0:38:07 | 0:38:12 | |
Well, that's understandable, Mr Grainger. | 0:38:12 | 0:38:16 | |
Then in 1978, Are You Being Served? | 0:38:16 | 0:38:18 | |
lost one of its most popular characters, the wonderful Mr Grainger. | 0:38:18 | 0:38:22 | |
He was such a lovely character and so important in the show. | 0:38:22 | 0:38:26 | |
It's the knack, you know. | 0:38:26 | 0:38:28 | |
Arthur Brough, who played Mr Grainger, was a very dear friend | 0:38:30 | 0:38:33 | |
and it was very, very sad when we lost him. | 0:38:33 | 0:38:36 | |
An irreplaceable colleague. | 0:38:36 | 0:38:38 | |
Yes, indeed. One of nature's gentlemen. | 0:38:38 | 0:38:43 | |
And from then on, of course, they wanted to find someone to fill that niche and various people took over. | 0:38:43 | 0:38:50 | |
James Hayter came in, lovely James Hayter. | 0:38:50 | 0:38:53 | |
Ah, Mr Tebbs was also 18 months in soft furnishings. | 0:38:53 | 0:38:57 | |
I resigned when they introduced bean bags. | 0:38:57 | 0:39:00 | |
He sadly died later on, too, and then Alfie Bass came into that character. | 0:39:00 | 0:39:06 | |
Wouldn't you rather split the commission three ways at the end of the week? | 0:39:06 | 0:39:10 | |
No. This is the way we've always done it and this is the way we'll carry on. | 0:39:10 | 0:39:13 | |
-Right, Mr Lucas? -Entirely, Mr Humphries. | 0:39:13 | 0:39:16 | |
So be it. | 0:39:16 | 0:39:17 | |
-Harry! -Hello! | 0:39:17 | 0:39:20 | |
It's awful to say, but he, sadly, died, too, so, erm... | 0:39:24 | 0:39:29 | |
This is to do with the fact that all of the people we're talking about | 0:39:29 | 0:39:33 | |
were reasonable ages when they were employed. | 0:39:33 | 0:39:35 | |
There must be something in there. | 0:39:35 | 0:39:38 | |
Keep on trying. | 0:39:38 | 0:39:39 | |
-If I'd known my body was going to last this long, I'd have treated it better. -Oh! | 0:39:41 | 0:39:48 | |
I'll get my other machine. | 0:39:48 | 0:39:50 | |
Mr Grace. Mr Grace, can I send down to stock for another pair of tights? | 0:39:50 | 0:39:55 | |
-Only I've just caught these on my desk and I've laddered 'em, look. -Oh. | 0:39:55 | 0:39:59 | |
The public would always say, of course, you've had no changes of cast, have you? | 0:40:02 | 0:40:06 | |
It's exactly the same people. | 0:40:06 | 0:40:07 | |
We had constant cast changes. | 0:40:07 | 0:40:09 | |
Just as Croft and Lloyd were trying to fill Mr Grainger's shoes, | 0:40:09 | 0:40:14 | |
another position came up for grabs in the men's department. | 0:40:14 | 0:40:17 | |
We sadly lost Trevor Bannister because it didn't fit in with some of his acting dates. | 0:40:17 | 0:40:23 | |
I suppose the gentleman couldn't come and stick his leg up on the counter and I could do it from here? | 0:40:23 | 0:40:28 | |
It was unfortunate. He was sort of double booked, as it were. | 0:40:28 | 0:40:31 | |
No, I suppose I couldn't! | 0:40:31 | 0:40:33 | |
I had been offered a tour of a play just finishing in London. | 0:40:34 | 0:40:37 | |
It was very difficult then to suddenly find that, | 0:40:37 | 0:40:41 | |
"Oh, they're now going to do another series." | 0:40:41 | 0:40:44 | |
And you say, "Well, I'm sorry, I can't do the series." | 0:40:44 | 0:40:49 | |
"What do you mean, you can't do the series?" | 0:40:49 | 0:40:51 | |
But you went, "Well, I'm sorry. Because you've either got to change your dates. | 0:40:51 | 0:40:55 | |
Well, no, I'm not giving up my job. | 0:40:55 | 0:40:57 | |
"What d'you mean? I've got to give up my job, which pays | 0:40:57 | 0:41:02 | |
20 times more money than you're going to pay me for doing seven weeks' work." | 0:41:02 | 0:41:06 | |
That was basically what happened. | 0:41:06 | 0:41:10 | |
It was just sort of a letter between his agency and the BBC perhaps. | 0:41:10 | 0:41:18 | |
It may have been my department. | 0:41:18 | 0:41:19 | |
Mind you, I'm still behind him. | 0:41:19 | 0:41:21 | |
We're all behind him! | 0:41:21 | 0:41:23 | |
Only not so close. | 0:41:23 | 0:41:26 | |
I'd done it for eight years anyway and I spied one or two jokes that we'd already done, so... | 0:41:26 | 0:41:34 | |
-Yeah, I'm right behind you, Captain Peacock. -I'm right behind you, Mr Lucas. | 0:41:34 | 0:41:38 | |
I'd rather you were behind Captain Peacock. | 0:41:38 | 0:41:41 | |
If you're top of the bill and suddenly you find someone | 0:41:42 | 0:41:46 | |
who's not the top of the bill is getting all the laughs, it can be difficult. | 0:41:46 | 0:41:49 | |
BOTH: Are you being served, sir? Good. | 0:41:51 | 0:41:54 | |
Mr Lucas's position was hastily filled by pop singer Mike Berry as new boy Mr Spooner. | 0:42:02 | 0:42:07 | |
# I love your smile. # | 0:42:07 | 0:42:10 | |
I've got to be very honest, the first script I got, | 0:42:10 | 0:42:14 | |
it had Mr Lucas in it, but scrubbed out and "Mr Spooner". | 0:42:14 | 0:42:20 | |
And I saw the odd "Mr Lucas" was left in. | 0:42:20 | 0:42:23 | |
And if Trevor had been given that script having done all the episodes he'd done, | 0:42:23 | 0:42:29 | |
I must say I would probably have turned it down, too, cos there wasn't much to do. | 0:42:29 | 0:42:34 | |
It didn't matter to me. I mean, to me, it was a big break and I thought, "Wow, fantastic!" | 0:42:34 | 0:42:38 | |
I want you to welcome your new assistant to this department, Mr Spooner. | 0:42:38 | 0:42:42 | |
I'm sure you're all aware that Mr Spooner has already served time | 0:42:42 | 0:42:46 | |
in the paint department, bedding and sports. | 0:42:46 | 0:42:49 | |
Now, you'll be under Mr Humphries, who's under Mr Grossman, who's under Captain Peacock. | 0:42:49 | 0:42:52 | |
I see. Like the bottom bun on a triple hamburger. | 0:42:52 | 0:42:56 | |
I was terrified. I can't tell you. | 0:42:56 | 0:42:58 | |
They probably didn't realise how terrified I was. | 0:42:58 | 0:43:00 | |
This was a series I'd admired and loved and laughed. | 0:43:00 | 0:43:03 | |
You'd have to fork out a few bob if you expected me to sit on your knee! | 0:43:03 | 0:43:07 | |
I agree. I'd want danger money. | 0:43:07 | 0:43:10 | |
-If you sat on me knee, -I'd -want danger money. | 0:43:10 | 0:43:13 | |
Not to mention scaffolding. | 0:43:13 | 0:43:14 | |
I went along to read for Jeremy and David. | 0:43:15 | 0:43:17 | |
Trying to keep my lips from sticking to my teeth | 0:43:17 | 0:43:20 | |
while I was reading wasn't easy, but I was very pleased to get it. | 0:43:20 | 0:43:24 | |
Well, let's see how comfy the bed is. | 0:43:24 | 0:43:27 | |
Ah! I supposed Mr Grace used to ring for his secretary when he wanted her to take something down in an hurry! | 0:43:27 | 0:43:34 | |
Ooh! Agh! | 0:43:35 | 0:43:38 | |
They were brilliant. Wendy, bless her, said to me that when she'd spoken to John, | 0:43:38 | 0:43:44 | |
his praise of me was, "He can do it." And that was all I needed to hear. | 0:43:44 | 0:43:50 | |
Even with a full cast in place, | 0:43:53 | 0:43:55 | |
the BBC were never that keen to re-commission the show. | 0:43:55 | 0:43:58 | |
It was popular with the audience, but this was not the case with management. | 0:43:58 | 0:44:02 | |
It goes back to the general distaste that the BBC had for Are You Being Served? | 0:44:02 | 0:44:07 | |
David Croft had to fight every year to get them... "Oh, couldn't you get Thames to do it? | 0:44:07 | 0:44:11 | |
It's a bit down-market for the BBC," and so on. | 0:44:11 | 0:44:15 | |
Then the last two years, they realised they'd got something rather good on their hands. | 0:44:15 | 0:44:19 | |
For what you are about to receive may you be truly grateful. | 0:44:19 | 0:44:23 | |
-Surely, sir, you mean "For what -we -are about to receive may -we -be truly grateful"? -No, no, for what -you | 0:44:23 | 0:44:28 | |
are about to receive. We're lunching at the Savoy, aren't we, dear? | 0:44:28 | 0:44:32 | |
I think everybody was surprised. | 0:44:32 | 0:44:34 | |
We thought it had gone. | 0:44:34 | 0:44:36 | |
And they decided they needed a comedy series quite quickly | 0:44:36 | 0:44:39 | |
and there they were all coming back. | 0:44:39 | 0:44:41 | |
Thanks for the lift. | 0:44:41 | 0:44:44 | |
-Oh! -This is most irregular. | 0:44:44 | 0:44:46 | |
I was only using my initiative. | 0:44:46 | 0:44:48 | |
I knew that the outside of the building was being painted | 0:44:48 | 0:44:51 | |
and after a little light banter with the workmen every morning, | 0:44:51 | 0:44:54 | |
I took the advantage of their kind offer of a lift. | 0:44:54 | 0:44:58 | |
There's white paint on the back of your coat. | 0:44:58 | 0:45:00 | |
The last couple of series, we were writing Are You Being Served? | 0:45:00 | 0:45:04 | |
and I said to David, "I've seen a psychic who's very, very good | 0:45:04 | 0:45:08 | |
and he tells me my partner's about to have a heart attack. | 0:45:08 | 0:45:11 | |
As you're my partner, it must be you. You'd better go and check." | 0:45:11 | 0:45:14 | |
He said, "I'm with BUPA. I have one every six months. | 0:45:14 | 0:45:17 | |
I said, "Look, I'm not going to write unless you go and get checked out." | 0:45:17 | 0:45:22 | |
He said, "You're really difficult." | 0:45:22 | 0:45:25 | |
So I think he went the next day and as he lay on the table being checked out, he had the heart attack. | 0:45:25 | 0:45:29 | |
So it saved his life. So he was out of action for a bit. | 0:45:29 | 0:45:32 | |
So I think I had to finish off the last 12 Are You Being Serveds without him. | 0:45:32 | 0:45:36 | |
And suddenly all the pussy stuff wasn't there. | 0:45:36 | 0:45:40 | |
And my dirty lines weren't there. So I thought, "Oh!" you know. | 0:45:40 | 0:45:45 | |
And then suddenly David came back for the last run-through or whatever, | 0:45:45 | 0:45:49 | |
early run-through, and suddenly all the lines came back. | 0:45:49 | 0:45:51 | |
So we thought, "Ah, you're the one with the dirty mind." | 0:45:51 | 0:45:55 | |
Come and sit next to me, Mr Humphries, and give me a baby. | 0:45:55 | 0:45:59 | |
As it got more successful, so the fees of the artists went up, so the costs went up. | 0:46:01 | 0:46:07 | |
By now in its ninth series, as popular as ever and with more money, Grace Brothers opened its doors | 0:46:07 | 0:46:12 | |
to more and more outlandish plots and elaborate set pieces. | 0:46:12 | 0:46:16 | |
Did you say "trouble"? You don't know the meaning of the word. | 0:46:16 | 0:46:20 | |
I think perhaps Jeremy was finding it a little difficult to come up with stories of things that could | 0:46:22 | 0:46:30 | |
probably happen in a big store and so began to get a little bit more fantastic. | 0:46:30 | 0:46:36 | |
You must lower me over the edge and I'll go and get the police. | 0:46:36 | 0:46:40 | |
-Isn't it a bit risky? -I must do it. | 0:46:40 | 0:46:42 | |
If I'm not home by one o'clock, me mother locks the door. | 0:46:42 | 0:46:46 | |
I remember watching it and once they started Mrs Slocombe | 0:46:46 | 0:46:49 | |
having a crush on Mr Humphries and that was a whole episode's plot | 0:46:49 | 0:46:52 | |
that then got forgotten the next week and you sort of thought, | 0:46:52 | 0:46:55 | |
"That's running out of stories, slightly." | 0:46:55 | 0:46:57 | |
Ooh, that's lovely. | 0:47:00 | 0:47:03 | |
They simply did everything and it ran out of steam. | 0:47:03 | 0:47:05 | |
It's karma! It's kismet! | 0:47:05 | 0:47:09 | |
It's... Kiss me! | 0:47:09 | 0:47:10 | |
The bigger and bigger things got, it was because they'd run out of ideas. | 0:47:13 | 0:47:18 | |
Are You Being Served? was bordering more on light entertainment | 0:47:21 | 0:47:27 | |
really than on comedy drama. | 0:47:27 | 0:47:29 | |
'It was sort of very revue-ish, but we all were, you see.' | 0:47:29 | 0:47:34 | |
# ..To be like we were. | 0:47:34 | 0:47:36 | |
# Perfect in every way. | 0:47:36 | 0:47:38 | |
# What's the matter With kids today...? # | 0:47:38 | 0:47:42 | |
'It was a bit, sort of, stretching it, you know,' | 0:47:42 | 0:47:45 | |
to imagine that the staff in a store like that would do that kind of thing. | 0:47:45 | 0:47:51 | |
# Ask me, "When will the day be?" | 0:47:51 | 0:47:54 | |
# The sweet day may be tonight! # | 0:47:54 | 0:47:58 | |
When we got to the very end, we shot this big musical number, | 0:47:58 | 0:48:02 | |
thinking, "Well, if this is the end, we're going out with a bang here." | 0:48:02 | 0:48:06 | |
But we didn't really know whether it WOULD be the end. | 0:48:06 | 0:48:08 | |
# Chanson... # | 0:48:12 | 0:48:16 | |
Nobody quite knew it was the very, very end, | 0:48:16 | 0:48:18 | |
so there wasn't that feeling of, we'll-never-meet-again sort of thing. | 0:48:18 | 0:48:22 | |
It was, maybe we'll see each other next spring. | 0:48:22 | 0:48:25 | |
# ..Encore... # | 0:48:25 | 0:48:28 | |
I think, to be honest, that the BBC decided that enough was enough. | 0:48:28 | 0:48:32 | |
# ..In my heart... # | 0:48:32 | 0:48:35 | |
And therefore, I think, you just have to say, "OK, let's move on.". | 0:48:35 | 0:48:39 | |
# More and... # | 0:48:41 | 0:48:42 | |
I think there comes a time when you know it's time to stop, really. | 0:48:42 | 0:48:46 | |
# ..Chanson d'amour... # | 0:48:46 | 0:48:52 | |
You just run out of plots. | 0:48:52 | 0:48:54 | |
# Rat, ta, ta, ta, ta! # | 0:48:55 | 0:48:57 | |
The BBC were very reluctant to let it go really, but they went along with the idea | 0:48:57 | 0:49:02 | |
that when we said we'd done enough, that was about it, you know? | 0:49:02 | 0:49:06 | |
# Each time I hear... # | 0:49:06 | 0:49:10 | |
Grace Brothers finally closed its doors on 1st April, 1985, | 0:49:12 | 0:49:16 | |
when times were changing. | 0:49:16 | 0:49:18 | |
# ..D'amour.... # | 0:49:18 | 0:49:19 | |
We were beginning to see, even in the mid '80s, alternative comedy arriving. | 0:49:19 | 0:49:23 | |
In fact, I think it was probably '87 that you would have seen | 0:49:23 | 0:49:26 | |
French And Saunders appear on television. | 0:49:26 | 0:49:28 | |
-Have I seen that dress somewhere before? -No, I had it specially made for me. | 0:49:28 | 0:49:32 | |
I've seen Marti Caine wearing this on her show, That's Not My Dog. Look, look at this! | 0:49:32 | 0:49:38 | |
So a new generation was beginning to emerge. | 0:49:38 | 0:49:41 | |
However, Alan Yentob, then controller of BBC One, | 0:49:41 | 0:49:44 | |
decided to give the characters another go in 1992 | 0:49:44 | 0:49:47 | |
in a comedy called Grace And Favour, which transported the action | 0:49:47 | 0:49:51 | |
to a country house hotel. | 0:49:51 | 0:49:54 | |
Perhaps you'd all like to sit down, we're not in the store now, are we? | 0:49:54 | 0:49:58 | |
This is all quite informal. | 0:49:58 | 0:50:00 | |
Are you free, Mr Humphries? | 0:50:00 | 0:50:01 | |
I'm free! | 0:50:01 | 0:50:03 | |
They were so well known for being in Are You Being Served?, | 0:50:03 | 0:50:07 | |
you can't say it really worked out in another situation, | 0:50:07 | 0:50:10 | |
although Mrs Slocombe was very funny playing cricket. | 0:50:10 | 0:50:13 | |
-Yes! -Not out! | 0:50:13 | 0:50:16 | |
-What did you say? -He said, "Not out.". | 0:50:18 | 0:50:21 | |
Do you wanna make something out of it? | 0:50:21 | 0:50:23 | |
It's tough to re-invent things and to move them on in that kind of way, | 0:50:23 | 0:50:26 | |
and, although it did OK, I mean, it never really... | 0:50:26 | 0:50:32 | |
it never really worked well enough for one to say, "Yes, let's persist and persevere," | 0:50:32 | 0:50:38 | |
beyond the two series that we gave it. | 0:50:38 | 0:50:40 | |
Despite the lack of desire for Grace And Favour, | 0:50:40 | 0:50:43 | |
both series remain hugely popular in America to this day. | 0:50:43 | 0:50:46 | |
They'd have Mrs Slocombe lookalike contests, and about 20 gentlemen would turn up | 0:50:46 | 0:50:52 | |
dressed as Mrs Slocombe, with a stuffed cat under their arms. | 0:50:52 | 0:50:56 | |
Are You Being Served? became truly international, with the show selling worldwide. | 0:50:56 | 0:51:00 | |
Australia even made its own version, importing John Inman in a starring role. | 0:51:00 | 0:51:06 | |
Mr Mankowitz will be over you, and Mr Randel will be under you. | 0:51:07 | 0:51:10 | |
It's just like being at home! | 0:51:13 | 0:51:15 | |
And in Britain, the series may not get as repeated as often, | 0:51:15 | 0:51:18 | |
but the stars are still remembered affectionately, and will always be resolutely British. | 0:51:18 | 0:51:24 | |
People watched it cos it was funny. | 0:51:25 | 0:51:27 | |
It's very short notice. | 0:51:27 | 0:51:29 | |
There's my pussy to consider. | 0:51:29 | 0:51:32 | |
We remember it cos it was fun. | 0:51:32 | 0:51:34 | |
RECORD PLAYS AT HIGH SPEED: # Mammy, Mammy | 0:51:34 | 0:51:39 | |
# The sun shines east The sun shines west... # | 0:51:39 | 0:51:41 | |
Programmes like Are You Being Served?, | 0:51:41 | 0:51:44 | |
they're timeless, because they're wholly inoffensive. | 0:51:44 | 0:51:48 | |
RECORD PLAYS AT LOW SPEED: # Mammy | 0:51:48 | 0:51:53 | |
# Mammy... # | 0:51:53 | 0:51:57 | |
When David and I are not here, they'll still be making people laugh with things we thought of. | 0:51:57 | 0:52:01 | |
-Mr Humphries! -Don't talk to me! | 0:52:01 | 0:52:04 | |
It'll never end, you see. They'll never age. | 0:52:08 | 0:52:11 | |
They'll always be the same age on television. | 0:52:11 | 0:52:14 | |
They'll never fade away, and they'll always be there. | 0:52:14 | 0:52:18 | |
TITTERING | 0:52:20 | 0:52:22 | |
LAUGHTER | 0:52:22 | 0:52:24 | |
RIOTOUS LAUGHTER | 0:52:33 | 0:52:35 | |
Luckily, for those fans of Are You Being Served?, | 0:52:40 | 0:52:43 | |
all 68 episodes still exist today in full, glorious Technicolor... | 0:52:43 | 0:52:49 | |
Ooh, no...! | 0:52:49 | 0:52:51 | |
..apart from the pilot. | 0:52:53 | 0:52:55 | |
Oh, is that the best you can do, Miss Brahms? | 0:52:55 | 0:52:58 | |
Well, it's not my job! I'll try again. | 0:52:58 | 0:53:00 | |
Are You Being Served?, at that time, | 0:53:00 | 0:53:02 | |
was transmitted on what we call two-inch videotape, | 0:53:02 | 0:53:07 | |
which is an enormous tape, and it was very, very expensive, | 0:53:07 | 0:53:13 | |
as a medium to record on, so what happened was, those tapes were used over and over again. | 0:53:13 | 0:53:18 | |
In the past, the BBC only kept television copies | 0:53:18 | 0:53:22 | |
of programmes they felt had historical importance, | 0:53:22 | 0:53:25 | |
and comedy shows were not deemed significant enough to keep. | 0:53:25 | 0:53:28 | |
-Never mind. Come along. -Fortunately, the pilot episode of Are You Being Served? | 0:53:28 | 0:53:33 | |
had been kept in black and white for international sales. | 0:53:33 | 0:53:36 | |
Because we didn't keep the two-inch tape that Are You Being Served? was transmitted on, | 0:53:36 | 0:53:41 | |
what we did actually do was record the programme off air on to film, | 0:53:41 | 0:53:46 | |
which is how this whole process of restoration has occurred. | 0:53:46 | 0:53:49 | |
Now, unfortunately, people thought the colour was lost | 0:53:49 | 0:53:53 | |
on this black-and-white copy, | 0:53:53 | 0:53:55 | |
but the actual means in which this film recording was made | 0:53:55 | 0:53:59 | |
meant that the colour information was actually accidentally preserved in the film as a pattern of dots. | 0:53:59 | 0:54:06 | |
Before I was involved, a couple of the other people | 0:54:06 | 0:54:09 | |
who were working on it had managed to recover quite reasonably convincing-looking colours, | 0:54:09 | 0:54:14 | |
but they weren't the full set. | 0:54:14 | 0:54:15 | |
For example, there were no blues or greens, | 0:54:15 | 0:54:18 | |
but there were yellows and there were reds, and, erm... | 0:54:18 | 0:54:21 | |
If you didn't know what the original colour was, | 0:54:21 | 0:54:24 | |
they actually looked quite good, but when you compared them... | 0:54:24 | 0:54:27 | |
That was an advantage of having the tape of Top Of The Pops. | 0:54:27 | 0:54:30 | |
When you compared them, you realised there were colours missing. | 0:54:30 | 0:54:33 | |
My contribution was to work out how to find these extra colours, | 0:54:33 | 0:54:38 | |
and the software that I wrote, then, sort of examines the picture, | 0:54:38 | 0:54:41 | |
and looks for these characteristic patterns of lines and dots, | 0:54:41 | 0:54:44 | |
which is the residue of the original colour, and from those, | 0:54:44 | 0:54:48 | |
it works out both what the colour is, and it works out its intensity, | 0:54:48 | 0:54:52 | |
so that the end result is a full colour picture. | 0:54:52 | 0:54:56 | |
Operator, get me Mr Rumbold's office. | 0:54:56 | 0:55:00 | |
Hello. Could I speak to Mr Rumbold, please? | 0:55:00 | 0:55:03 | |
Well, I'm sorry, Mrs Slocombe, but I'm afraid Mr Rumbold's still with Young Mr Grace at the moment. | 0:55:03 | 0:55:08 | |
Oh, hang on a second. I think he's just leaving. | 0:55:08 | 0:55:11 | |
So now the pilot episode has been restored to its former glory, | 0:55:11 | 0:55:15 | |
and has taken pride of place back on the shelves, with all ten series of Are You Being Served?. | 0:55:15 | 0:55:21 | |
HE CACKLES | 0:55:21 | 0:55:23 | |
BOTH: Yes, we're free. | 0:55:24 | 0:55:25 | |
'I like it!' | 0:55:28 | 0:55:29 | |
I will not have rough, workman's hands inside my bra! | 0:55:31 | 0:55:35 | |
Pompous twit! | 0:55:39 | 0:55:40 | |
Mrs Slocombe! | 0:55:45 | 0:55:47 | |
Oh, yes, we are. Yes, we are free, Mr Humphries, yes. | 0:55:50 | 0:55:53 | |
-Mind you, five minutes ago, we wouldn't have been free, would we? -No, we would not have been free! | 0:55:59 | 0:56:04 | |
But I never told him the sleeves would ride up with wear! | 0:56:04 | 0:56:08 | |
Subtitles by Red Bee Media Ltd | 0:56:24 | 0:56:27 | |
Email [email protected] | 0:56:27 | 0:56:30 |