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This programme contains very strong language and adult humour. | 0:00:02 | 0:00:06 | |
I just read, er, in a magazine | 0:00:06 | 0:00:07 | |
the most incredible thing, | 0:00:07 | 0:00:10 | |
that apparently, er, marmalade, in large doses - | 0:00:10 | 0:00:14 | |
and when I say large doses, I mean, you know, small doses - | 0:00:14 | 0:00:18 | |
can be fatal, cos they, er, seize up the, er, cardiac system | 0:00:18 | 0:00:24 | |
and give influctions. | 0:00:24 | 0:00:28 | |
Yeah, well, there's a lot of truth in that | 0:00:28 | 0:00:30 | |
cos too much vitamin C can diminish your sexual potency | 0:00:30 | 0:00:34 | |
and I read that in the National Star. | 0:00:34 | 0:00:38 | |
And what I think the professor was making the point of was that, um... | 0:00:38 | 0:00:46 | |
Are you saying that food is dangerous? | 0:00:53 | 0:00:57 | |
Well, let's put it this way. Not all food is dangerous | 0:00:57 | 0:01:00 | |
but there are certain kinds of food that are dangerous. | 0:01:00 | 0:01:04 | |
Sugar, for example. | 0:01:04 | 0:01:07 | |
Especially combined with salt. | 0:01:07 | 0:01:09 | |
If you have a cup of sugar and salt, I mean, | 0:01:09 | 0:01:12 | |
you might as well kiss goodbye to tomorrow cos, um... | 0:01:12 | 0:01:16 | |
But the point that Dr Slazenger says is that... | 0:01:16 | 0:01:19 | |
Because anything you eat is deadly | 0:01:24 | 0:01:27 | |
and the best thing to eat is nothing. | 0:01:27 | 0:01:29 | |
And I think you have to reach a slight compromise. | 0:01:29 | 0:01:33 | |
I mean, that makes sense, doesn't it? | 0:01:37 | 0:01:39 | |
Peter Cook is widely regarded as the greatest figure | 0:01:47 | 0:01:50 | |
in modern British comedy. | 0:01:50 | 0:01:52 | |
Writer, performer, proprietor of Private Eye magazine | 0:01:52 | 0:01:55 | |
and The Establishment Club, he dominated British comedy for decades | 0:01:55 | 0:01:58 | |
on television, radio, theatre, print and film. | 0:01:58 | 0:02:00 | |
Few have had a glimpse at Peter Cook's private world | 0:02:00 | 0:02:03 | |
because, after his untimely death - he was just 57 - | 0:02:03 | 0:02:06 | |
Peter's grief-stricken wife, Lin, closed up his Hampstead house, | 0:02:06 | 0:02:10 | |
leaving it like a time capsule, full of comedic treasure. | 0:02:10 | 0:02:14 | |
This front door has remained firmly locked for two decades. | 0:02:17 | 0:02:21 | |
Lin has resisted all offers to allow the cameras in, until now. | 0:02:21 | 0:02:26 | |
And so it is that we go through the keyhole. | 0:02:26 | 0:02:29 | |
Past the wall with Peter's Derek and Clive graffiti on it. | 0:02:31 | 0:02:35 | |
Past the EL Wisty-inspired hat stand. | 0:02:35 | 0:02:38 | |
Through the dining room, | 0:02:38 | 0:02:39 | |
where Peter and Dudley recorded their improvisations | 0:02:39 | 0:02:42 | |
or stared blankly at the garden for inspiration. | 0:02:42 | 0:02:44 | |
Up the precarious stairs - well, occasionally precarious for Peter. | 0:02:47 | 0:02:50 | |
To his study and his bookshelves, | 0:02:52 | 0:02:54 | |
which reveal a very eclectic mind indeed. | 0:02:54 | 0:02:56 | |
And scattered around the study, as they have been since he died, | 0:03:00 | 0:03:03 | |
are such gems as home videos, diaries, family snapshots, letters, | 0:03:03 | 0:03:11 | |
rehearsal tapes and much, much more. | 0:03:11 | 0:03:14 | |
What follows isn't a biography of Peter Cook. | 0:03:14 | 0:03:16 | |
We've all seen plenty of those before. | 0:03:16 | 0:03:18 | |
Instead, we're offering a glimpse of Peter's private world | 0:03:18 | 0:03:21 | |
and clips from programmes that have not been broadcast | 0:03:21 | 0:03:23 | |
since their original transmission. | 0:03:23 | 0:03:26 | |
Many of our best and funniest finds were domestic audio recordings | 0:03:26 | 0:03:29 | |
made by Peter alone, or with Dudley | 0:03:29 | 0:03:31 | |
and, as you've already seen, we've animated some of these. | 0:03:31 | 0:03:34 | |
There's no stopping the man! He's doing ME now! This is... | 0:03:34 | 0:03:37 | |
The first thing that we almost literally stumbled on | 0:03:47 | 0:03:49 | |
was this suitcase which contains memories | 0:03:49 | 0:03:52 | |
of Peter's childhood and adolescence. | 0:03:52 | 0:03:54 | |
And most interesting is this ancient 16mm home movie, shot in the 1930s. | 0:03:54 | 0:03:59 | |
Peter was born on 17th November, 1937, | 0:04:03 | 0:04:06 | |
into a middle-class civil service family. | 0:04:06 | 0:04:08 | |
He never made any secret of his comfortable background, | 0:04:08 | 0:04:11 | |
but these never before broadcast pictures show that his origins were | 0:04:11 | 0:04:15 | |
very much at the upper end of the middle class. | 0:04:15 | 0:04:17 | |
I come from an upper middle class background | 0:04:17 | 0:04:19 | |
and I'm not ashamed of it. | 0:04:19 | 0:04:22 | |
A better start in life. I had a better start in life. | 0:04:22 | 0:04:25 | |
He was brought up in a big house with gardeners, nannies... | 0:04:28 | 0:04:32 | |
..and social functions | 0:04:34 | 0:04:35 | |
that would have impressed even Lord Peter Wimsey. | 0:04:35 | 0:04:38 | |
Peter was educated at public school, Radley College, | 0:04:46 | 0:04:49 | |
and in this rare interview with his mother, | 0:04:49 | 0:04:51 | |
we discover that the schoolboy Peter was a million miles | 0:04:51 | 0:04:53 | |
from the man who created Derek and Clive. | 0:04:53 | 0:04:55 | |
-Mrs Cook, Mrs Peter Cook. -Yes. | 0:04:55 | 0:04:58 | |
As a little boy, you say your Peter was interested | 0:04:58 | 0:05:02 | |
-in snakes and reptiles. -Yes, very much. | 0:05:02 | 0:05:04 | |
And you don't know whether he's still interested or not. | 0:05:04 | 0:05:06 | |
-Does that mean you don't see him at all? -Yes, of course I do, | 0:05:06 | 0:05:09 | |
but I think he's still fond of them but more distantly. | 0:05:09 | 0:05:12 | |
We have a picture of him coming up there. He looks very innocent there. | 0:05:12 | 0:05:16 | |
He doesn't look like the little lad who later learnt to shock... | 0:05:16 | 0:05:19 | |
-I mean, he shocks a lot of people, your Pete, doesn't he? -I know. | 0:05:19 | 0:05:21 | |
He was rather shy and retiring when he was young. | 0:05:21 | 0:05:24 | |
-When did all this change and why? -I don't know. I don't know at all. | 0:05:24 | 0:05:28 | |
You didn't drop, did you, or something like that? | 0:05:28 | 0:05:30 | |
-Of course not! -Where did he live as a child? | 0:05:30 | 0:05:33 | |
Well, in Torquay and we were in West Africa half the time. | 0:05:33 | 0:05:37 | |
-What were you doing there? -My husband was propping up the Empire. | 0:05:37 | 0:05:40 | |
LAUGHTER | 0:05:40 | 0:05:41 | |
-The bit that was left before it...? -Yes. -Did it fall over when he left? | 0:05:41 | 0:05:45 | |
No! Nearly, not quite. | 0:05:45 | 0:05:47 | |
No, he was a district officer there and we had to be away rather a lot. | 0:05:47 | 0:05:51 | |
-Yes. -So he was with grannies. -Right. | 0:05:51 | 0:05:53 | |
Inside the same suitcase are school photos, | 0:05:55 | 0:05:58 | |
a school yearbook that reveals Peter the academic, | 0:05:58 | 0:06:01 | |
having won three scholarships in a single year, | 0:06:01 | 0:06:03 | |
even though he later claimed to have done no work at all. | 0:06:03 | 0:06:06 | |
I mean, my last year at Radley was incredible | 0:06:06 | 0:06:08 | |
cos I passed my exams to Cambridge. | 0:06:08 | 0:06:10 | |
I was just staying on there because there was nothing better to do. | 0:06:10 | 0:06:13 | |
I used to have breakfast in bed, brought to me, shoes polished, | 0:06:13 | 0:06:17 | |
study cleaned, everything like that. | 0:06:17 | 0:06:19 | |
And you were allowed certain privileges. | 0:06:19 | 0:06:22 | |
I used to go to the pictures a lot in Oxford. | 0:06:22 | 0:06:24 | |
There was nothing for me to do academically. | 0:06:24 | 0:06:26 | |
He then spent a year on the Continent, | 0:06:26 | 0:06:28 | |
books about Germany and France reflecting the time he spent abroad, | 0:06:28 | 0:06:31 | |
studying languages in preparation for Cambridge University. | 0:06:31 | 0:06:34 | |
We also found this rather dapper monogrammed grooming case, | 0:06:36 | 0:06:39 | |
revealing traces of Brylcreem stuck to letters to and from the BBC, | 0:06:39 | 0:06:43 | |
like this one, where Peter attempts to get work on BBC television. | 0:06:43 | 0:06:47 | |
"Dear Mr Titheradge, I wanted to know if it's possible | 0:06:47 | 0:06:50 | |
"for a spare-time scriptwriter to write occasional sketches | 0:06:50 | 0:06:53 | |
"for television comedy programmes. | 0:06:53 | 0:06:54 | |
"I enclose a short sketch about shirts and this time, | 0:06:54 | 0:06:57 | |
"I've carefully avoided writing with any particular comedian in mind." | 0:06:57 | 0:07:01 | |
Also in the case is a hit of 1957, a record of Peggy Sue, | 0:07:03 | 0:07:07 | |
a song Peter loved so much that some years later, | 0:07:07 | 0:07:10 | |
he recorded his own version. | 0:07:10 | 0:07:12 | |
We found two tapes of this - one with his vocal only... | 0:07:12 | 0:07:16 | |
# Ba, ba, ba, ba, ba. # That's a bit loud. | 0:07:16 | 0:07:20 | |
# If you... | 0:07:20 | 0:07:21 | |
# If you knew Peggy Sue | 0:07:21 | 0:07:24 | |
# Then you'd know why I feel blue about... # | 0:07:24 | 0:07:28 | |
And the other one with backtrack, | 0:07:28 | 0:07:30 | |
painstakingly restored here together for the first time. | 0:07:30 | 0:07:33 | |
# If you knew Peggy Sue | 0:07:33 | 0:07:37 | |
# Then you'd know why I feel blue | 0:07:37 | 0:07:39 | |
# About Peggy | 0:07:39 | 0:07:41 | |
# My Peggy Sue | 0:07:41 | 0:07:44 | |
# Well, I love you, girl | 0:07:46 | 0:07:47 | |
# Yes, I love you, Peggy Sue.. # | 0:07:47 | 0:07:50 | |
Frankly, we wondered why we bothered. | 0:07:50 | 0:07:52 | |
Ow, ooh, I'm out of breath. Christ! | 0:07:52 | 0:07:55 | |
PETER CLEARS HIS THROAT | 0:07:55 | 0:07:56 | |
Peter and particularly Dudley railed against the BBC | 0:07:58 | 0:08:01 | |
for having lost most of the episodes of Not Only... But Also. | 0:08:01 | 0:08:05 | |
There's a whole lot of people who haven't seen those programmes. | 0:08:05 | 0:08:07 | |
I think this is one thing Peter and I both feel badly about, | 0:08:07 | 0:08:11 | |
that I think the BBC erased all of our tapes. | 0:08:11 | 0:08:14 | |
-Thank you and goodnight! -LAUGHTER | 0:08:14 | 0:08:16 | |
-Have they really? -Yeah, I think they erased the whole bloody lot. | 0:08:16 | 0:08:19 | |
I can't imagine... I mean, some idiot... | 0:08:19 | 0:08:21 | |
But we tracked down the audio from an obsessive fan | 0:08:21 | 0:08:23 | |
who hotwired his TV set, | 0:08:23 | 0:08:25 | |
electrocuting himself in the process, | 0:08:25 | 0:08:27 | |
and recorded them as they aired in the 1960s. | 0:08:27 | 0:08:29 | |
And we also tracked down some silent films from various sources, | 0:08:29 | 0:08:33 | |
including old film cans from the trails department | 0:08:33 | 0:08:36 | |
at ABC TV in Australia and we joined the bits together. | 0:08:36 | 0:08:40 | |
Now, is this the sort of suit one can smoke marijuana in? | 0:08:40 | 0:08:44 | |
You're planning to get... | 0:08:44 | 0:08:45 | |
You're planning to be stoned out your mind, are you, sir? | 0:08:45 | 0:08:48 | |
Well, Basil told me it was going to be a rave and I want something... | 0:08:48 | 0:08:52 | |
LAUGHTER DROWNS OUT SPEECH | 0:08:52 | 0:08:55 | |
Er, I wish you wouldn't do that. | 0:08:55 | 0:08:58 | |
LAUGHTER | 0:08:58 | 0:09:00 | |
-Er, I think that's rather nice, sir. -I like it. | 0:09:00 | 0:09:02 | |
Er, the only thing that strikes me is that it is a trifle effeminate. | 0:09:02 | 0:09:06 | |
Effeminate? I wouldn't say it was effeminate. | 0:09:06 | 0:09:09 | |
-I would say it was effeminate, yes. -I wouldn't say it was effeminate. | 0:09:09 | 0:09:12 | |
-I just said it IS effeminate. -LAUGHTER | 0:09:12 | 0:09:15 | |
It is effeminate. | 0:09:15 | 0:09:16 | |
Well, you know, sir, we had Max Schmeling, the boxer, in here | 0:09:16 | 0:09:19 | |
the other day, sir, and he went away with a replica of this very suit | 0:09:19 | 0:09:22 | |
and I wouldn't call HIM effeminate, would you, sir? | 0:09:22 | 0:09:24 | |
Max Schmeling. No, I wouldn't call him effeminate. | 0:09:24 | 0:09:26 | |
I wouldn't call Max Schmeling effeminate. | 0:09:26 | 0:09:28 | |
I wouldn't call him effeminate, no. | 0:09:28 | 0:09:30 | |
He's not effeminate. He's never been near a woman in his life. | 0:09:30 | 0:09:32 | |
LAUGHTER | 0:09:32 | 0:09:35 | |
He wouldn't touch one, you know. | 0:09:35 | 0:09:36 | |
It really worries me, this effeminate thing, | 0:09:36 | 0:09:39 | |
because my wife is extremely effeminate, you know. | 0:09:39 | 0:09:42 | |
A ghastly business. I don't know where she picks it up. | 0:09:42 | 0:09:45 | |
She sort of goes flim-flamming about the place. It's most frustrating. | 0:09:45 | 0:09:50 | |
Yes, well, we don't want people having difficulty | 0:09:50 | 0:09:52 | |
-trying to distinguish between the pair of you, do we? -Certainly not. | 0:09:52 | 0:09:55 | |
-Would you like one bent at the back, sir? -If you have one, yes. | 0:09:55 | 0:09:58 | |
LAUGHTER | 0:09:58 | 0:10:00 | |
-Do you fancy the thin one? -Yeah. | 0:10:00 | 0:10:02 | |
-Well, she can be yours in a matter of moments, Dud. -Yeah? | 0:10:02 | 0:10:05 | |
If you just play your cards right. The thin one? | 0:10:05 | 0:10:07 | |
All you have to do is go up to her, | 0:10:07 | 0:10:09 | |
say something ironic to establish your amazing masculinity, you see. | 0:10:09 | 0:10:13 | |
-Yeah? -Go up. She's fairly thin, isn't she? -Yeah. | 0:10:13 | 0:10:15 | |
Well, say something ironic, like, "Hello, fatty." | 0:10:15 | 0:10:18 | |
-Being an ironic comment on the fact she's thin. -Yeah. | 0:10:18 | 0:10:22 | |
Then say to her in a rough, brutal way, like James Cagney used to do, | 0:10:22 | 0:10:26 | |
go up to her and say, "How about a bit of passionate love with me?" | 0:10:26 | 0:10:30 | |
Do you think that will work? | 0:10:30 | 0:10:32 | |
Well, I should think so, yeah. Just be very masculine, aggressively so. | 0:10:32 | 0:10:36 | |
-I'll try, shall I? -Go on. | 0:10:36 | 0:10:38 | |
Hello, fat face! How about... What? | 0:10:42 | 0:10:45 | |
A bit of passionate love with me. | 0:10:45 | 0:10:47 | |
LAUGHTER | 0:10:47 | 0:10:49 | |
How about a bit of passionate love with me then? | 0:10:49 | 0:10:52 | |
LAUGHTER | 0:10:54 | 0:10:56 | |
-What happened, Dud? -She slapped my face, Pete. | 0:10:58 | 0:11:01 | |
-Well, you're away, aren't you? -Am I? | 0:11:01 | 0:11:03 | |
Physical contact after such a brief meeting, yes. | 0:11:03 | 0:11:06 | |
That's the way to do it, Dud. | 0:11:06 | 0:11:08 | |
Now you've got to play it extremely cool. | 0:11:08 | 0:11:11 | |
Why don't we go upstairs and ignore them for about ten stops? | 0:11:11 | 0:11:15 | |
-Play it cool? -Play it cool. That's the only way to do it, Dud. | 0:11:15 | 0:11:17 | |
All right then. | 0:11:17 | 0:11:19 | |
APPLAUSE | 0:11:21 | 0:11:23 | |
Do you find in any way that you've been affected adversely | 0:11:25 | 0:11:28 | |
by the credit squeeze? | 0:11:28 | 0:11:30 | |
I know that businessmen up and down the country | 0:11:30 | 0:11:32 | |
are being forced to take drastic slashes. | 0:11:32 | 0:11:35 | |
LAUGHTER | 0:11:35 | 0:11:37 | |
We also tracked down parts of this episode, | 0:11:39 | 0:11:42 | |
featuring Peter Sellers, not seen since 1965, | 0:11:42 | 0:11:45 | |
and was considered lost for 40 years, | 0:11:45 | 0:11:47 | |
until being rediscovered in the USA | 0:11:47 | 0:11:49 | |
in the Library of Congress's film stores | 0:11:49 | 0:11:51 | |
and then returned to the BBC. | 0:11:51 | 0:11:53 | |
It's never been rebroadcast on television. | 0:11:53 | 0:11:56 | |
Good evening. | 0:11:56 | 0:11:57 | |
Here in the studio tonight, we have Mr Danny Gough, | 0:11:57 | 0:12:00 | |
the boxer who has turned portrait painter, | 0:12:00 | 0:12:02 | |
and who is having his first show in London in Regent Street. | 0:12:02 | 0:12:06 | |
Mr Gough... Mr Gough... | 0:12:06 | 0:12:08 | |
Mr Gough, could I tear you away for a moment from your... | 0:12:08 | 0:12:12 | |
Would you like to sit down for a while? | 0:12:12 | 0:12:15 | |
-Robert. -Thank you very much. | 0:12:15 | 0:12:16 | |
Good. | 0:12:16 | 0:12:18 | |
Thank you. | 0:12:20 | 0:12:22 | |
LAUGHTER | 0:12:22 | 0:12:23 | |
Er, Mr Gough, I am particularly interested to know | 0:12:23 | 0:12:27 | |
what led you to leave the ring | 0:12:27 | 0:12:29 | |
and enter the highly competitive world of portrait painting. | 0:12:29 | 0:12:33 | |
Well, it was about two years ago, | 0:12:34 | 0:12:37 | |
I was, er, fighting Killer Cain | 0:12:37 | 0:12:40 | |
and I'm afraid I wasn't altogether in trim, you see. | 0:12:40 | 0:12:44 | |
Oh, I had a few pints before the night, didn't I? | 0:12:44 | 0:12:51 | |
And he got in with a left in the third round. | 0:12:51 | 0:12:54 | |
Right on the button he got me, so I went down. | 0:12:54 | 0:12:58 | |
As I was sort of lying there, wasn't I? | 0:12:58 | 0:13:01 | |
-He was lying there. -Yeah. -LAUGHTER | 0:13:01 | 0:13:03 | |
I was lying there and I saw this, | 0:13:03 | 0:13:06 | |
this thin trickle of blood coming out of my left nostril | 0:13:06 | 0:13:10 | |
onto the canvas and suddenly I become aware of what I had in me. | 0:13:10 | 0:13:16 | |
-LAUGHTER -Er, blood, that is. | 0:13:16 | 0:13:20 | |
-No, I mean, no, no... -No, not that. | 0:13:20 | 0:13:24 | |
No, it opened up a window in my mind. | 0:13:24 | 0:13:27 | |
-My vistas was enlarged. -I see. -LAUGHTER | 0:13:27 | 0:13:31 | |
-I didn't know that. -Yes, very painful too. | 0:13:31 | 0:13:34 | |
LAUGHTER | 0:13:34 | 0:13:35 | |
And I saw a whole new world of creativity in front of me | 0:13:35 | 0:13:39 | |
-and I've been on the canvas ever since, ain't I? -I see. | 0:13:39 | 0:13:43 | |
Mr Gough, this is your first show here in London, | 0:13:43 | 0:13:45 | |
but I think I'm right in saying that you have had an exhibition | 0:13:45 | 0:13:48 | |
-in the provinces before this. -Oh, yeah, yeah. | 0:13:48 | 0:13:50 | |
-You had an exhibition in the provinces? -Yeah, I have, yeah. | 0:13:50 | 0:13:54 | |
I suppose you could say, you see, | 0:13:54 | 0:13:56 | |
-that this show is in the nature of a sort of comeback for me. -I see. | 0:13:56 | 0:14:00 | |
You don't agree, then, with critics of this kind of work, | 0:14:00 | 0:14:04 | |
who say that your kind of painting can damage the brain? | 0:14:04 | 0:14:06 | |
LAUGHTER | 0:14:06 | 0:14:09 | |
No, I don't, I don't. | 0:14:11 | 0:14:13 | |
-No, I definitely don't say that. -You wouldn't agree with that. | 0:14:13 | 0:14:16 | |
I notice you're wearing these rather thick pebble glasses. | 0:14:16 | 0:14:19 | |
Is that in any way connected with your painting? | 0:14:19 | 0:14:22 | |
Well, that's because I've got myoprics of the eyes. | 0:14:22 | 0:14:25 | |
LAUGHTER | 0:14:25 | 0:14:27 | |
I've got myoprics in the eyes here | 0:14:27 | 0:14:30 | |
and they also help to... | 0:14:30 | 0:14:32 | |
They also help, you see, to stop the paint coming in the eye. | 0:14:32 | 0:14:38 | |
Of course, I believe a lot of painters have, in fact, suffered | 0:14:38 | 0:14:42 | |
from this similar disease, have they not? | 0:14:42 | 0:14:45 | |
-Tintoretto, wasn't it? -LAUGHTER | 0:14:45 | 0:14:47 | |
-I believe Tintoretto was astigmatic. -Ah. | 0:14:47 | 0:14:51 | |
LAUGHTER | 0:14:51 | 0:14:53 | |
Well, we're going to look very shortly | 0:14:53 | 0:14:55 | |
at one of Mr Gough's latest paintings. | 0:14:55 | 0:14:57 | |
By the way, who is this person here you're painting? | 0:14:57 | 0:15:00 | |
-What are you talking about, "Who is it?" -Who is this person? | 0:15:00 | 0:15:03 | |
The Archbishop of Canterbury! "Who is it?" | 0:15:03 | 0:15:06 | |
It's the Archbishop of Canterbury. | 0:15:06 | 0:15:08 | |
It's the Archbishop of Canterbury, is it? Yes. | 0:15:08 | 0:15:10 | |
-Of course it's the Archbishop of Canterbury. -Yes, of course it is. | 0:15:10 | 0:15:14 | |
And this Late Night Line-Up from June, 1967, | 0:15:14 | 0:15:19 | |
where Peter discovered that the then controller of BBC2, | 0:15:19 | 0:15:22 | |
David Attenborough, was in the audience, | 0:15:22 | 0:15:25 | |
and Peter acted accordingly. | 0:15:25 | 0:15:27 | |
They must be out of their minds. | 0:15:27 | 0:15:29 | |
But we must proffer our heartfelt congratulations | 0:15:29 | 0:15:33 | |
-to Mr David Attenborough here... -Bless his heart. -Bless his heart. | 0:15:33 | 0:15:37 | |
-APPLAUSE -Bless his cotton socks. | 0:15:37 | 0:15:39 | |
..who moved on from the heady world | 0:15:39 | 0:15:42 | |
of making wonderful documentary films | 0:15:42 | 0:15:45 | |
about the mating habits of Armand and Michaela Denis... | 0:15:45 | 0:15:49 | |
LAUGHTER | 0:15:49 | 0:15:51 | |
And moving over here, we see David Attenborough. | 0:15:51 | 0:15:55 | |
Now, David, I feel kind of bashful being confronted | 0:15:55 | 0:16:00 | |
by a person who's surrounded by red tablecloths, like you are. | 0:16:00 | 0:16:05 | |
But one thing I'd like to ask you, because I'm on a sort of percentage, | 0:16:05 | 0:16:09 | |
is why you smoke Silk Cut Benson & Hedges cigarettes. | 0:16:09 | 0:16:12 | |
LAUGHTER | 0:16:12 | 0:16:14 | |
They're the only ones I could steal. | 0:16:14 | 0:16:16 | |
They're the only ones he could steal. | 0:16:16 | 0:16:17 | |
And that's a fact, ladies and gentlemen, and you can't deny it. | 0:16:17 | 0:16:21 | |
BIRDSONG | 0:16:21 | 0:16:24 | |
We always hoped to find some forgotten fragments | 0:16:28 | 0:16:31 | |
of Peter's comedy during our visit to the house, | 0:16:31 | 0:16:34 | |
but what we unearthed exceeded all expectations. | 0:16:34 | 0:16:37 | |
Once we'd reassembled the tapes in these boxes, dated New York, 1964, | 0:16:37 | 0:16:42 | |
and had painstakingly stuck the edited pieces back together again, | 0:16:42 | 0:16:46 | |
we realised that we'd struck gold. | 0:16:46 | 0:16:49 | |
This is an entire unknown album by Peter and Dudley, | 0:16:49 | 0:16:52 | |
the Dead Sea Tapes, recorded in New York in late 1963 | 0:16:52 | 0:16:56 | |
and edited for release early in 1964, but long thought to be lost. | 0:16:56 | 0:17:01 | |
The recordings were mentioned in the American press | 0:17:01 | 0:17:03 | |
but Peter and Dudley were worried | 0:17:03 | 0:17:05 | |
that they might be prosecuted for blasphemy, | 0:17:05 | 0:17:07 | |
which was a serious criminal offence in those pre-Life Of Brian days. | 0:17:07 | 0:17:11 | |
So, they decided not to release the tapes. | 0:17:11 | 0:17:13 | |
Peter Cook later recalled them in this never before aired interview. | 0:17:13 | 0:17:17 | |
We once, in 1963, when we were in New York with Beyond The Fringe, | 0:17:17 | 0:17:21 | |
we went into Capitol Studios | 0:17:21 | 0:17:24 | |
and, on the very same basis as the Derek and Clive records, | 0:17:24 | 0:17:27 | |
we did an adlib session which - I suppose about five hours of it - | 0:17:27 | 0:17:33 | |
which I called the Dead Sea Tapes. | 0:17:33 | 0:17:35 | |
The Dead Sea Scrolls had just been discovered | 0:17:35 | 0:17:38 | |
and they are adlibbed things by people who knew Jesus. | 0:17:38 | 0:17:41 | |
-TAPE: -As doctors, we think... | 0:17:41 | 0:17:44 | |
-Yes, yes. -We think the whole thing... | 0:17:44 | 0:17:47 | |
-Yes, yes. -Was... | 0:17:47 | 0:17:49 | |
-PETER COUGHS -Excuse me. | 0:17:49 | 0:17:51 | |
-PETER COUGHS -..was a little unfair... -Yes, yes. | 0:17:51 | 0:17:55 | |
-..on the general practitioner. -Yes, yes. | 0:17:55 | 0:17:58 | |
-To say the least, it was a little unorthodox. -Yes, yes, yes. | 0:17:58 | 0:18:02 | |
-PETER COUGHS -Blast! I'm sorry. | 0:18:02 | 0:18:04 | |
We were made to look absolute idiots. | 0:18:04 | 0:18:07 | |
I mean, it's all very well, these gratuitous miracles, | 0:18:07 | 0:18:11 | |
but it's all very well for the people who were cured, you see. | 0:18:11 | 0:18:14 | |
-Yes, yes. -But it left the doctors | 0:18:14 | 0:18:16 | |
with a considerable amount of scrambled eggs on their faces. | 0:18:16 | 0:18:19 | |
-Yes, yes, yes. -You see, I went round, for instance, | 0:18:19 | 0:18:22 | |
-to see Lazarus's mother... -Yes, yes. | 0:18:22 | 0:18:25 | |
..and I explained to her, I said, | 0:18:25 | 0:18:27 | |
-"Your son, madam, is absolutely incurable." -Yes, yes. | 0:18:27 | 0:18:31 | |
And the next moment, this fellow was round, | 0:18:31 | 0:18:33 | |
cured the boy in a flash and left me looking absolutely ridiculous. | 0:18:33 | 0:18:38 | |
-Yes, yes. -I mean, I couldn't get another call for weeks, you see. | 0:18:38 | 0:18:42 | |
-Yes, yes. -And very soon after that, | 0:18:42 | 0:18:44 | |
I went down with an attack of the creeping habdabs, | 0:18:44 | 0:18:47 | |
through getting nothing to eat... | 0:18:47 | 0:18:49 | |
-PETER COUGHS -..and, er, I... | 0:18:49 | 0:18:53 | |
I tried to get hold of this fellow | 0:18:53 | 0:18:55 | |
-and see if he could work one of his blasted miracles on me. -Yes, yes. | 0:18:55 | 0:19:00 | |
-And, er, you know what he said to me? -Yes, yes. | 0:19:00 | 0:19:03 | |
-He said, "Physician, heal thyself." -Yes, yes, yes, yes, yes. | 0:19:03 | 0:19:08 | |
I do wish you wouldn't keep on saying, "Yes, yes, yes, yes, yes." | 0:19:08 | 0:19:12 | |
I'm sorry, it's an incurable disease I have. | 0:19:12 | 0:19:18 | |
Oh, I see. I'm sorry. | 0:19:18 | 0:19:20 | |
-Yes. -Yes. -Yes. -Yes. -Yes. -Yes. -Yes. | 0:19:20 | 0:19:24 | |
-PETER SNEEZES -Blast! | 0:19:24 | 0:19:26 | |
For an agnostic and a sceptic, if not downright atheist, | 0:19:27 | 0:19:31 | |
Peter's bookshelves are surprisingly peppered | 0:19:31 | 0:19:33 | |
with volumes on spirituality and religion, | 0:19:33 | 0:19:35 | |
a subject which perplexed him throughout his life. | 0:19:35 | 0:19:38 | |
Religion is at the very core of his most successful film, Bedazzled, | 0:19:38 | 0:19:42 | |
in which he plays an incarnation of the devil. | 0:19:42 | 0:19:45 | |
What a dreary thing to do. I hope you're proud of yourself. | 0:19:45 | 0:19:49 | |
It was pride that got me into this. | 0:19:49 | 0:19:51 | |
I used to be an angel, you know, | 0:19:51 | 0:19:53 | |
-up in heaven. -Oh, yeah. | 0:19:53 | 0:19:54 | |
-You used to be God's favourite, didn't you? -That's right. | 0:19:54 | 0:19:57 | |
"I love Lucifer", it was, in those days. | 0:19:57 | 0:19:59 | |
With me in the studio is the devil himself, alias Peter Cook. | 0:19:59 | 0:20:04 | |
-Evening, fans. -What sort of religious views do you have, if any? | 0:20:04 | 0:20:08 | |
I have very muddled religious views. I was brought up Church of England, | 0:20:08 | 0:20:12 | |
I went to a school where I went to a daily service in a surplice, | 0:20:12 | 0:20:16 | |
and so I was fairly inundated with religion early on. | 0:20:16 | 0:20:20 | |
And I'm very confused about it all. | 0:20:20 | 0:20:22 | |
Um, how is it that on every count, in the 20th century, | 0:20:22 | 0:20:28 | |
the devil is winning hands down? | 0:20:28 | 0:20:30 | |
Is this just the weakness of the human race? | 0:20:30 | 0:20:32 | |
And why are we created so ill-equipped | 0:20:32 | 0:20:34 | |
to deal with the situation we're thrust into without being asked? | 0:20:34 | 0:20:37 | |
And if there IS a God which I believe in or will believe in, | 0:20:37 | 0:20:42 | |
he's a forgiving and understanding God | 0:20:42 | 0:20:45 | |
and I shall be able to get away with what I do in this world. | 0:20:45 | 0:20:49 | |
Bedazzled in an hilarious retelling of the Faust myth, | 0:20:53 | 0:20:57 | |
with the devilish Peter trying to tempt Dudley | 0:20:57 | 0:20:59 | |
into selling his soul, while simultaneously playing | 0:20:59 | 0:21:03 | |
pathetic and malicious pranks on humanity. | 0:21:03 | 0:21:05 | |
THEY BOTH LAUGH | 0:21:07 | 0:21:08 | |
Here, that's terrible. | 0:21:08 | 0:21:10 | |
But, I mean, apart from the way he moves, what's God really like? | 0:21:10 | 0:21:15 | |
-I mean, what colour is he? -He's all colours of the rainbow, many-hued. | 0:21:15 | 0:21:18 | |
-But he IS English, isn't he? -Oh, yes, very upper-class. | 0:21:18 | 0:21:21 | |
Course his son had a lot of problems, | 0:21:24 | 0:21:26 | |
having such a famous father. | 0:21:26 | 0:21:27 | |
Yeah, I always feel sorry for Jesus having his birthday | 0:21:27 | 0:21:30 | |
on Christmas Day, you know, just one lot of presents. | 0:21:30 | 0:21:32 | |
This interview, recorded on the set of Bedazzled, | 0:21:37 | 0:21:39 | |
was only ever broadcast once, half a century ago, | 0:21:39 | 0:21:42 | |
and only in the London area, | 0:21:42 | 0:21:43 | |
so chances are you've never seen it before. | 0:21:43 | 0:21:46 | |
For the filmmaker, | 0:21:46 | 0:21:47 | |
heaven comes in all sorts of different shapes and sizes. | 0:21:47 | 0:21:50 | |
For producer-director Stanley Donen, | 0:21:50 | 0:21:52 | |
who is currently making his latest comedy, Bedazzled, | 0:21:52 | 0:21:55 | |
in various parts of London, | 0:21:55 | 0:21:57 | |
this is his idea of heaven - the gardens of Syon Park in Middlesex. | 0:21:57 | 0:22:02 | |
As I said, these are the gardens and somewhere back there, | 0:22:02 | 0:22:06 | |
for the purposes of the story, is God. | 0:22:06 | 0:22:09 | |
Well, now today, I've come to Stanley Donen's heaven | 0:22:09 | 0:22:12 | |
to meet what must surely be the most unlikely visitor | 0:22:12 | 0:22:15 | |
ever to come here and that is the devil himself. | 0:22:15 | 0:22:18 | |
Peter Cook, we've seen you playing the devil many times before | 0:22:22 | 0:22:25 | |
on television and the cinema, but this, surely, | 0:22:25 | 0:22:27 | |
is the first time you've ever PLAYED the devil, isn't it? | 0:22:27 | 0:22:30 | |
Yes, I've been longing for the opportunity. | 0:22:30 | 0:22:32 | |
My wife has always said that I AM the devil. | 0:22:32 | 0:22:34 | |
She thinks I'm an emissary of the devil. | 0:22:34 | 0:22:35 | |
At last I've got the opportunity to play myself. Very nice, too. | 0:22:35 | 0:22:38 | |
-What's the devil doing in heaven? -Well, he always was in heaven. | 0:22:38 | 0:22:41 | |
Lucifer was God's favourite angel in the old days, | 0:22:41 | 0:22:44 | |
sat around, adoring God. | 0:22:44 | 0:22:46 | |
But after a while, he got fed up with it and wanted to be like God | 0:22:46 | 0:22:48 | |
and was cast out, I thought rather harshly, for the sin of pride, | 0:22:48 | 0:22:52 | |
which we all have, to a great extent - certainly I do. | 0:22:52 | 0:22:54 | |
And now, after thousands and thousands of years of tempting, | 0:22:54 | 0:22:57 | |
doing his job, making the world miserable, | 0:22:57 | 0:22:59 | |
he's fed up with it and he wants to go back to heaven again | 0:22:59 | 0:23:02 | |
and sit in the garden, have a nice time and praise the Lord again. | 0:23:02 | 0:23:05 | |
Who, specifically, do you tempt in this film? | 0:23:05 | 0:23:08 | |
Oh, in this film, my main tempting activities | 0:23:08 | 0:23:10 | |
are centred round Dudley Moore, | 0:23:10 | 0:23:12 | |
who is not a difficult figure to tempt, as you can well imagine. | 0:23:12 | 0:23:15 | |
Having already succumbed to every temptation | 0:23:15 | 0:23:17 | |
in the history of mankind, he's well at home doing this. | 0:23:17 | 0:23:22 | |
This sounds, to me, very much like the Faust theme. | 0:23:22 | 0:23:25 | |
I'd have thought that by now, | 0:23:25 | 0:23:26 | |
we'd had every conceivable variation on that particular theme. | 0:23:26 | 0:23:30 | |
It's your 20th-century Faust we're doing. Well, I don't know. | 0:23:30 | 0:23:34 | |
I think it's a fascinating theme. That's why it's been done so often. | 0:23:34 | 0:23:37 | |
Um, I've never seen it done funnily. | 0:23:37 | 0:23:39 | |
They're all sort of rather serious things about scholars, | 0:23:39 | 0:23:42 | |
you know, wishing to find the secret of life and so on. | 0:23:42 | 0:23:44 | |
This is very much a comedy version. | 0:23:44 | 0:23:47 | |
I don't think we've had a Faust theme | 0:23:47 | 0:23:48 | |
with Raquel Welch in it before, playing Lust. | 0:23:48 | 0:23:51 | |
I don't think we've had a Faust theme | 0:23:51 | 0:23:53 | |
with a cast of a thousand nuns. | 0:23:53 | 0:23:55 | |
And, in many ways, I think it's very different from any other. | 0:23:55 | 0:23:58 | |
-Yes. -I certainly hope so. -I'd like to ask you about this | 0:23:58 | 0:24:00 | |
because, in many of your TV sketches, heaven and, in fact, nuns, | 0:24:00 | 0:24:03 | |
seem to feature pretty prominently. | 0:24:03 | 0:24:05 | |
What is it about these two things that, you know, | 0:24:05 | 0:24:08 | |
to you, make them good comedy material? | 0:24:08 | 0:24:10 | |
Well, I'm hoping to get to heaven and find out as much about it. | 0:24:10 | 0:24:13 | |
I think, um, religion is, | 0:24:13 | 0:24:16 | |
for me, one of the most fascinating subjects. I explore it in... | 0:24:16 | 0:24:21 | |
I'm not a very religious person but I'm very interested in it | 0:24:21 | 0:24:26 | |
and I don't think it's ever been treated in a really funny way - | 0:24:26 | 0:24:30 | |
not a disrespectful way, but just exploring the funny things | 0:24:30 | 0:24:32 | |
that happen to people in a religious context... | 0:24:32 | 0:24:34 | |
-PLANE FLIES OVERHEAD -..such as this bleeding plane | 0:24:34 | 0:24:37 | |
-going over now. -Yes. -Is that sent by the devil | 0:24:37 | 0:24:39 | |
or is it part of God's plan to drown out the interview? Nobody knows. | 0:24:39 | 0:24:42 | |
-Um, I think this sort of voice would be good, do you? -Yes. | 0:24:45 | 0:24:49 | |
-God bless him. -What the bloody hell do we say at this point? | 0:24:49 | 0:24:53 | |
-Um, improvise. -Improvise. | 0:24:53 | 0:24:55 | |
-Improvise only is what you do. -Improvise. | 0:24:55 | 0:24:58 | |
Hello, this the Queen of England speaking. | 0:24:58 | 0:25:01 | |
I'd like you all to go and see the new film Bedazzled, | 0:25:01 | 0:25:04 | |
produced and directed by Stanley Donen, | 0:25:04 | 0:25:06 | |
starring Peter Cook, Dudley Moore and Raquel Welch as Lust. | 0:25:06 | 0:25:09 | |
Pete, that didn't sound very much like the Queen of England, you know. | 0:25:09 | 0:25:13 | |
-I thought it was a very good imitation. -No, very poor. | 0:25:13 | 0:25:15 | |
Go and see Bedazzled, there's good subjects. | 0:25:15 | 0:25:17 | |
Peter Cook and Dudley Moore can be blamed for everything else. | 0:25:17 | 0:25:20 | |
-Including this commercial. -Oh, whoops. | 0:25:20 | 0:25:22 | |
-PETER BLOWS HIS NOSE -Don't blow your nose on air. | 0:25:24 | 0:25:28 | |
But Peter's projects didn't always meet with universal success, | 0:25:28 | 0:25:32 | |
as this next tape we discovered in his desk drawer reminds us. | 0:25:32 | 0:25:35 | |
-APPLAUSE -Thank you. | 0:25:35 | 0:25:39 | |
Thank you. | 0:25:40 | 0:25:42 | |
In February, 1971, Peter briefly hosted a chat show | 0:25:42 | 0:25:46 | |
for BBC television, entitled Where Do I Sit? | 0:25:46 | 0:25:48 | |
It was anarchic and unpredictable and, while some viewers loved it, | 0:25:48 | 0:25:52 | |
others hated it and BBC management soon became very nervous. | 0:25:52 | 0:25:55 | |
APPLAUSE | 0:25:55 | 0:25:57 | |
Thank you, ladies and gentlemen, | 0:25:57 | 0:25:59 | |
and welcome to the most relaxed show on British television. | 0:25:59 | 0:26:03 | |
After three editions, the show was axed | 0:26:03 | 0:26:05 | |
and no tapes were thought to have survived, | 0:26:05 | 0:26:07 | |
but we tracked down Peter's audio cassettes | 0:26:07 | 0:26:10 | |
of some of the short-lived series. | 0:26:10 | 0:26:12 | |
Here is the opening of the second show, | 0:26:12 | 0:26:13 | |
with Peter happily reading out some of the no-nonsense abuse | 0:26:13 | 0:26:16 | |
he'd received after the first show. | 0:26:16 | 0:26:18 | |
Last week, we did the first show and we had | 0:26:18 | 0:26:21 | |
a record number of enquiries, as you could politely call it, | 0:26:21 | 0:26:25 | |
to the duty officer of the BBC, including my own enquiry. | 0:26:25 | 0:26:27 | |
I'd like to read a few of them. | 0:26:27 | 0:26:30 | |
"I like his programmes, but not him. He is hopeless." | 0:26:30 | 0:26:34 | |
LAUGHTER | 0:26:34 | 0:26:36 | |
"This is the biggest load of organised crap I have ever seen. | 0:26:36 | 0:26:39 | |
"Never mind my name." | 0:26:39 | 0:26:41 | |
LAUGHTER | 0:26:41 | 0:26:43 | |
Be in touch, never mind my name, | 0:26:43 | 0:26:45 | |
because I never knew the crap was organised! | 0:26:45 | 0:26:47 | |
And this is an especially good one. "I would love to get at him..." | 0:26:47 | 0:26:51 | |
-Wahey! -"I would love to get at him. -LAUGHTER | 0:26:51 | 0:26:55 | |
"It is so easy to mock and pick on people." | 0:26:55 | 0:26:57 | |
We also found this from the first show - | 0:26:57 | 0:27:00 | |
Peter's rendition of the Elvis Presley classic... | 0:27:00 | 0:27:03 | |
-# Well, bless my soul, what's wrong with me? # -..All Shook Up. | 0:27:03 | 0:27:07 | |
# I'm itching like a man on a fuzzy tree | 0:27:07 | 0:27:09 | |
# My friends say I'm actin' wild as a bug | 0:27:09 | 0:27:12 | |
# I'm in love, I'm all shook up | 0:27:12 | 0:27:15 | |
# Mm-hmm-hmm | 0:27:15 | 0:27:17 | |
# Mmm | 0:27:17 | 0:27:18 | |
# Yeah, yeah, yeah... # | 0:27:18 | 0:27:20 | |
-You hosted a chat show once, many moons ago. -Yes, I did, yes. | 0:27:20 | 0:27:25 | |
I was wondering if you got any public reaction to it at all. | 0:27:25 | 0:27:29 | |
Yes, the public reaction was that I should desist... | 0:27:29 | 0:27:32 | |
LAUGHTER | 0:27:32 | 0:27:34 | |
..from hosting a chat show. | 0:27:34 | 0:27:36 | |
Um, one of the main problems I found, as an interviewer, | 0:27:36 | 0:27:41 | |
was an inability to hear what the other person was saying. | 0:27:41 | 0:27:45 | |
And if I did, no interest in it whatsoever either. | 0:27:45 | 0:27:49 | |
This extract of him phoning a viewer live, | 0:27:49 | 0:27:51 | |
who had complained about the show, | 0:27:51 | 0:27:53 | |
suggests that it was simply years ahead of its time, | 0:27:53 | 0:27:56 | |
with Peter's anarchic approach being far too dangerous and edgy | 0:27:56 | 0:27:59 | |
for the BBC in the early 1970s. | 0:27:59 | 0:28:01 | |
-You were watching last week, weren't you? -'Yes.' | 0:28:01 | 0:28:04 | |
And you disliked it very much. | 0:28:04 | 0:28:06 | |
'Yeah, I thought you were a colossal bore.' | 0:28:06 | 0:28:08 | |
-Yeah? -LAUGHTER | 0:28:08 | 0:28:10 | |
-'It's all right. I probably am myself.' -You probably are yourself? | 0:28:10 | 0:28:14 | |
-'Yeah, oh, definitely.' -It's nice to talk to you. | 0:28:14 | 0:28:17 | |
Somebody, in a letter to me the other week, said I was pissed. | 0:28:17 | 0:28:19 | |
-You sound a bit gone yourself. -'Yeah.' | 0:28:19 | 0:28:21 | |
-All right. -'You're right, I do.' | 0:28:21 | 0:28:23 | |
-OK, bye-bye. Nice to talk to you. -'Yeah, nice to talk to you.' | 0:28:23 | 0:28:27 | |
-What a hypocrite! -LAUGHTER | 0:28:27 | 0:28:30 | |
Nice to talk to me?! Why does he say it's nice to talk to me? | 0:28:30 | 0:28:33 | |
-He hates me! -LAUGHTER | 0:28:33 | 0:28:35 | |
Two weeks after it began, | 0:28:35 | 0:28:37 | |
Peter's ground-breaking and anarchic show was unceremoniously axed | 0:28:37 | 0:28:40 | |
and was replaced in the schedules by... | 0:28:40 | 0:28:43 | |
MUSIC: Theme to Parkinson | 0:28:43 | 0:28:46 | |
Some say that Peter Cook's greatest creation is EL Wistey. | 0:28:46 | 0:28:49 | |
Some say it was Pete and Dud. | 0:28:49 | 0:28:51 | |
But for a generation of comedy writers and performers, | 0:28:51 | 0:28:54 | |
Derek and Clive was the equivalent of punk rock - | 0:28:54 | 0:28:56 | |
iconoclastic, deliberately offensive and very funny. | 0:28:56 | 0:29:01 | |
For those of you who are offended by very, very bad language, | 0:29:02 | 0:29:05 | |
you may wish to press the mute button | 0:29:05 | 0:29:07 | |
or leave the house for the next couple of minutes | 0:29:07 | 0:29:10 | |
or sing aloud an improving hymn. | 0:29:10 | 0:29:11 | |
I wrote to whatever the fucking name is of the head of the fucking BBC. | 0:29:11 | 0:29:14 | |
-"Dear Cunt." -Yeah, that's right. -That's it, yeah. | 0:29:14 | 0:29:17 | |
I put, "Cunt, London" - I knew that would find him. | 0:29:17 | 0:29:19 | |
"Cunt, London. TV Centre." | 0:29:19 | 0:29:21 | |
Not even "TV Centre". I don't have to put TV... | 0:29:21 | 0:29:23 | |
"Cunt, London" and it reaches the Director General of the BBC, | 0:29:23 | 0:29:26 | |
-you can be certain of that. -Yeah. -So, I said to him, "Dear Cunt..." | 0:29:26 | 0:29:29 | |
-Yeah. -"Your fucking crew came round my fucking place last night | 0:29:29 | 0:29:33 | |
"and tried to film me fucking masturbating | 0:29:33 | 0:29:35 | |
"and I did it perfectly well the first take | 0:29:35 | 0:29:38 | |
"and they said they'd got a fucking hair in the gate | 0:29:38 | 0:29:40 | |
"and I'm paying 25 quid a fucking year | 0:29:40 | 0:29:42 | |
"to have a fucking colour licence | 0:29:42 | 0:29:44 | |
"and this is the fucking service I get?" | 0:29:44 | 0:29:46 | |
And I said, "If we have any more Joyce Grenfell repeats, | 0:29:46 | 0:29:48 | |
"I'll come round to the TV Centre..." | 0:29:48 | 0:29:50 | |
-"Beat you to death with a horn!" -"Beat you to death with my horn!" | 0:29:50 | 0:29:53 | |
I'll get my fucking horn out | 0:29:53 | 0:29:54 | |
and beat the whole fucking TV Centre down. | 0:29:54 | 0:29:56 | |
-I'll fucking raze it with my knob. -And what reply did I get? | 0:29:56 | 0:30:00 | |
-Cunts. -Oh! | 0:30:04 | 0:30:06 | |
-See? -So, I sent round, "Bear it in mind" - get the sarcasm of that. | 0:30:13 | 0:30:17 | |
-Yeah, what cunts. -The subtle sarcasm of it. "Bear it in mind." | 0:30:17 | 0:30:20 | |
Bear it up your arse, mate. | 0:30:20 | 0:30:22 | |
One of the boxes we discovered | 0:30:22 | 0:30:24 | |
contained another cassette of a home recording made by Peter, | 0:30:24 | 0:30:26 | |
seemingly post Pete and Dud, | 0:30:26 | 0:30:28 | |
and more like a prototype version of Derek and Clive, | 0:30:28 | 0:30:31 | |
cranking up the bad language and markedly far beyond | 0:30:31 | 0:30:33 | |
what was acceptable by British broadcasters in the early '70s. | 0:30:33 | 0:30:37 | |
And even today, it's still pretty close to the bone. | 0:30:37 | 0:30:39 | |
Well, anyway, have you got anything in the pipeline | 0:30:39 | 0:30:42 | |
as regards a job at all? | 0:30:42 | 0:30:44 | |
Well, as I said, I've been down the labour exchange. | 0:30:44 | 0:30:46 | |
There's nothing much good going. I've had one offer. | 0:30:46 | 0:30:49 | |
-Yeah, what's that? -One fucking offer. Eating shit. | 0:30:49 | 0:30:52 | |
How does that appeal to you? | 0:30:54 | 0:30:56 | |
-Well, you know, I think, at a pinch, I'll take it. -Yeah? | 0:30:56 | 0:31:01 | |
-At least it's regular. -Yeah, yeah, you're right there. | 0:31:01 | 0:31:04 | |
CHUCKLING | 0:31:04 | 0:31:06 | |
After years of Pete and Dud being acceptable family entertainment, | 0:31:06 | 0:31:10 | |
they finally broke free of those restrictions, | 0:31:10 | 0:31:12 | |
revelling in their own transgressions. | 0:31:12 | 0:31:15 | |
Here is a never released extract from Derek and Clive. | 0:31:15 | 0:31:20 | |
Oh, I had a terrible time during the war, you know. | 0:31:20 | 0:31:22 | |
Hold on. Ah! | 0:31:22 | 0:31:24 | |
You all right there? | 0:31:24 | 0:31:25 | |
HE CHUCKLES | 0:31:25 | 0:31:28 | |
-Oh, yeah. -I had a dreadful time during the war, you know. | 0:31:29 | 0:31:34 | |
-Yeah? -Yeah, I was in, I was in espionage. | 0:31:35 | 0:31:39 | |
-Espininage? -No, espionage. | 0:31:39 | 0:31:41 | |
-Oh, espionage. -I was an undercover agent | 0:31:41 | 0:31:46 | |
-for the British government. -DUDLEY BELCHES: -Oh, yeah. | 0:31:46 | 0:31:49 | |
And I had to infiltrate behind the German lines | 0:31:49 | 0:31:54 | |
-and get into Hitler's household. -DUDLEY CLEARS HIS THROAT | 0:31:54 | 0:31:57 | |
Yeah, oh, yeah. I had to get into his arsehole - that was worse! | 0:31:57 | 0:32:00 | |
-No, did...? -Yeah. | 0:32:00 | 0:32:02 | |
No, cos that is amazing I never met you, | 0:32:02 | 0:32:06 | |
-cos my job was to pose as his toothbrush, you see. -Oh, really? | 0:32:06 | 0:32:10 | |
-I was Hitler's toothbrush. -You were Hitler's toothbrush? | 0:32:10 | 0:32:14 | |
Yes, throughout the war, you know, every morning, every night, | 0:32:14 | 0:32:17 | |
I used to be put inside his mouth and I sort of spied... | 0:32:17 | 0:32:21 | |
After these were filmed and the records released, | 0:32:21 | 0:32:24 | |
the Home Secretary himself received calls | 0:32:24 | 0:32:26 | |
for the pair to be prosecuted for obscenity. | 0:32:26 | 0:32:28 | |
The mighty combination of the West Yorkshire and Wolverhampton | 0:32:28 | 0:32:31 | |
obscene publication police squads | 0:32:31 | 0:32:33 | |
called for Peter and Dudley to be arrested. | 0:32:33 | 0:32:35 | |
Oh, and the BBC banned it too. | 0:32:35 | 0:32:37 | |
Oh, and so did Mary Whitehouse, in her own sweet way. | 0:32:37 | 0:32:41 | |
Not too long after the dust had settled over Derek and Clive, | 0:32:41 | 0:32:44 | |
Peter met the woman who would be his wife for the rest of his life. | 0:32:44 | 0:32:48 | |
Lin told us about her own background before she met Peter. | 0:32:48 | 0:32:51 | |
My dad was a professional gambler. Is that a good start? | 0:32:52 | 0:32:57 | |
-It's a good start. -Wonderful! | 0:32:57 | 0:32:59 | |
Better than most interviews! | 0:32:59 | 0:33:01 | |
I've never heard of one of them. | 0:33:01 | 0:33:03 | |
LAUGHTER | 0:33:03 | 0:33:05 | |
I'd love to tell the story of how I met. | 0:33:06 | 0:33:08 | |
I happened to be a guest one weekend at a country house, Stocks in Tring. | 0:33:08 | 0:33:13 | |
At Stocks, there's a games room and late one evening, | 0:33:13 | 0:33:16 | |
I was playing backgammon with one of the other guests, | 0:33:16 | 0:33:20 | |
when Peter stumbled in... | 0:33:20 | 0:33:22 | |
..very drunk and came straight to where I was playing backgammon, | 0:33:23 | 0:33:29 | |
moved the pieces about, | 0:33:29 | 0:33:31 | |
asking at the same time, "Who's winning?" | 0:33:31 | 0:33:34 | |
I bought my first home in Hampstead in the '70s, | 0:33:37 | 0:33:40 | |
about four years before I met Peter. | 0:33:40 | 0:33:42 | |
I'm quite proud to say that that was my home, | 0:33:42 | 0:33:44 | |
that nobody can think that I was after Peter for his money. | 0:33:44 | 0:33:47 | |
And Peter was walking right past the entrance with an armful of books. | 0:33:47 | 0:33:51 | |
This time he talked to me as though I was an old friend, | 0:33:53 | 0:33:57 | |
invited me to see his house, which was close to mine, | 0:33:57 | 0:34:01 | |
and when I went in, I had such a shock. | 0:34:01 | 0:34:03 | |
I have never seen a house like his. | 0:34:06 | 0:34:09 | |
It was...unbelievable. | 0:34:10 | 0:34:14 | |
I went, "Oh, a terrible mess," | 0:34:14 | 0:34:18 | |
Er... | 0:34:18 | 0:34:20 | |
And, er, I had such a shock because the kitchen sink was full, | 0:34:20 | 0:34:26 | |
the sideboards were all covered with things, | 0:34:26 | 0:34:30 | |
you could not get into the utility room | 0:34:30 | 0:34:34 | |
and upstairs, there were plates on the floor, | 0:34:34 | 0:34:37 | |
the books were all this way and that way | 0:34:37 | 0:34:40 | |
and when he showed me the upstairs, the cupboard doors were open, | 0:34:40 | 0:34:45 | |
the drawers were pulled out, there were clothes on the floor... | 0:34:45 | 0:34:49 | |
And I just said to him, "If a burglar broke in, | 0:34:51 | 0:34:55 | |
"he would think your house has already been done." | 0:34:55 | 0:34:57 | |
INTERVIEWER CHUCKLES | 0:34:57 | 0:34:59 | |
So... | 0:34:59 | 0:35:01 | |
If he wanted a snack, he would just open a can of baked beans | 0:35:01 | 0:35:05 | |
with mash that he made - instant mash. | 0:35:05 | 0:35:08 | |
They tasted good. I'm eating that now. My daughter loves it too. | 0:35:08 | 0:35:12 | |
Our friendship gradually developed into a relationship | 0:35:12 | 0:35:16 | |
and, some years later, led to us getting married. | 0:35:16 | 0:35:20 | |
I never asked him to divorce his wife, | 0:35:20 | 0:35:23 | |
although I left him several times. | 0:35:23 | 0:35:25 | |
It was his choice when he decided that he loved me enough | 0:35:25 | 0:35:29 | |
and cared for me enough to want to be married. | 0:35:29 | 0:35:32 | |
We always kept our own houses. | 0:35:33 | 0:35:36 | |
Sometimes we lived at Peter's house, sometimes in mine | 0:35:36 | 0:35:39 | |
and that seemed to work for us, | 0:35:39 | 0:35:40 | |
because we were friends for a year and a half | 0:35:40 | 0:35:42 | |
before we were a relationship. | 0:35:42 | 0:35:44 | |
Previous biographies of Peter have characterised him | 0:35:51 | 0:35:54 | |
as a tortured genius | 0:35:54 | 0:35:56 | |
and the latter part of his life as a massive decline. | 0:35:56 | 0:35:58 | |
It's a cliche we all like to hear about comedians, | 0:35:58 | 0:36:01 | |
but the reality is, of course, more nuanced. | 0:36:01 | 0:36:03 | |
True, Peter was sometimes a distant and selfish drunk. | 0:36:03 | 0:36:07 | |
And out of the blue, I asked him, "Why do you drink so much?" | 0:36:07 | 0:36:11 | |
And his answer was the last thing I expected. | 0:36:12 | 0:36:16 | |
He just said, "Despair, really." | 0:36:16 | 0:36:18 | |
But what's not known is that he had long periods off the booze, | 0:36:18 | 0:36:22 | |
once up to seven months, and he attended the local AA in Hampstead. | 0:36:22 | 0:36:26 | |
During these bouts of sobriety, | 0:36:26 | 0:36:28 | |
he showed Lin his tender and romantic side, | 0:36:28 | 0:36:31 | |
as clearly demonstrated by these hand-written notes, | 0:36:31 | 0:36:34 | |
which he regularly left for her. | 0:36:34 | 0:36:36 | |
He was very romantic and tender, | 0:36:39 | 0:36:41 | |
different from the cynical and shocking person. | 0:36:41 | 0:36:44 | |
He used to leave notes for me all around the house, like these ones. | 0:36:44 | 0:36:49 | |
He drew a picture with a bubble, "I love you." | 0:36:51 | 0:36:57 | |
And below it, "Still courting you after all these years. | 0:36:57 | 0:37:00 | |
"Husband who feels so much better when you are home." | 0:37:00 | 0:37:04 | |
"Your loving husband." And then lots of crosses. | 0:37:06 | 0:37:09 | |
"Darling, I love you so much, sorry I'm so miserable." | 0:37:11 | 0:37:15 | |
And the other one which also means a lot to me was... | 0:37:16 | 0:37:20 | |
"When you smile, my heart leaps. Please don't ever leave me. | 0:37:21 | 0:37:24 | |
"I couldn't bear it." | 0:37:24 | 0:37:26 | |
And now he's left me, I'm finding it hard to bear as well. | 0:37:26 | 0:37:30 | |
And for a seemingly cynical man, | 0:37:30 | 0:37:33 | |
he was capable of making grand romantic gestures. | 0:37:33 | 0:37:37 | |
I was woken up by a call from Peter, | 0:37:37 | 0:37:40 | |
asking me to look out of the hotel room. | 0:37:40 | 0:37:42 | |
And, to my amazement, when I opened the window and looked out, | 0:37:42 | 0:37:47 | |
he had scribbled... | 0:37:47 | 0:37:49 | |
.."PC loves LC" in huge letters on the sand, | 0:37:51 | 0:37:55 | |
huge letters on the sand. I couldn't believe my eyes. | 0:37:55 | 0:37:58 | |
Unimaginable that Peter could do such a thing. | 0:37:58 | 0:38:02 | |
And of course, the rest of the day, all I had were comments | 0:38:02 | 0:38:05 | |
from the wives about how romantic Peter was and... | 0:38:05 | 0:38:09 | |
Nearly all the women were saying | 0:38:11 | 0:38:13 | |
they wished their husband was like that, | 0:38:13 | 0:38:15 | |
boldly expressing love for the wife in large letters on the sand. | 0:38:15 | 0:38:20 | |
John Cleese was one of Peter's closest friends. Probably... | 0:38:23 | 0:38:27 | |
John was probably the friend who loved Peter the most | 0:38:27 | 0:38:31 | |
out of all of Peter's friends, including Dudley. | 0:38:31 | 0:38:33 | |
And one year, John invited a group of people to his house... | 0:38:34 | 0:38:41 | |
..and surprised everybody by saying | 0:38:43 | 0:38:45 | |
that he was inviting 40 friends to join him on a trip down the Nile. | 0:38:45 | 0:38:49 | |
BACKGROUND HUBBUB AND CHATTER | 0:38:53 | 0:38:56 | |
This trip was called, by John Cleese, | 0:38:56 | 0:38:58 | |
the Fish Called Wanda royalties party cruise, | 0:38:58 | 0:39:01 | |
a 15-day journey down the Nile on the Royal Rhapsody, | 0:39:01 | 0:39:04 | |
given, amazingly generously, all expenses paid, | 0:39:04 | 0:39:07 | |
by Cleese to 40 of his closest friends, | 0:39:07 | 0:39:09 | |
many from the world of comedy, including, as seen here, | 0:39:09 | 0:39:12 | |
a 32-year-old Stephen Fry who, somewhat typically, | 0:39:12 | 0:39:16 | |
chose Billy Bunter On The Nile, which he read in daily instalments. | 0:39:16 | 0:39:20 | |
"Billy Bunter turned his big spectacles | 0:39:20 | 0:39:22 | |
"on the gesticulating Moustafa with an alarmed blink." | 0:39:22 | 0:39:25 | |
Interspersed with a Nile-inspired fashion show... | 0:39:25 | 0:39:29 | |
-Peter Cook. -LAUGHTER | 0:39:29 | 0:39:31 | |
This is Peter as the Invisible Sphinx... | 0:39:31 | 0:39:35 | |
..followed by a mock BBC interview | 0:39:36 | 0:39:38 | |
that could never have made it to PM. | 0:39:38 | 0:39:41 | |
Excuse me, could I just have a few words for the benefit...? | 0:39:41 | 0:39:44 | |
We're from the BBC and we just wondered if you would... | 0:39:44 | 0:39:47 | |
LAUGHTER | 0:39:47 | 0:39:48 | |
Could you just outline the events leading up to the present situation? | 0:39:51 | 0:39:55 | |
LAUGHTER | 0:39:57 | 0:39:59 | |
Further Billy Bunter readings by Stephen Fry... | 0:39:59 | 0:40:02 | |
"Goading, mocking thief, I beat with a stick, yes..." | 0:40:02 | 0:40:06 | |
Some no-nonsense belly dancing, or in this case beer-belly dancing. | 0:40:06 | 0:40:10 | |
During the trip, | 0:40:10 | 0:40:11 | |
Peter invented a new ball game, which he took very seriously. | 0:40:11 | 0:40:16 | |
-CHEERING -No! 1 point. | 0:40:16 | 0:40:19 | |
The game is a game of skill, strength, | 0:40:19 | 0:40:23 | |
cunning and not, not decisions. | 0:40:23 | 0:40:26 | |
It's a question of making the balls - las balones or los bollocos - | 0:40:26 | 0:40:30 | |
los bollocos have to go flying between the aluminium hoops. | 0:40:30 | 0:40:35 | |
Should they traverse the aluminium hoops successfully, | 0:40:35 | 0:40:37 | |
without touching said hoops, 3 points the score. | 0:40:37 | 0:40:40 | |
Are you playing, John? | 0:40:40 | 0:40:42 | |
This is known as a strike, this is known as a nothing. | 0:40:42 | 0:40:46 | |
I am also known as a nothing, hence... | 0:40:46 | 0:40:48 | |
-IN AMERICAN ACCENT: -NBC sportscaster. | 0:40:48 | 0:40:50 | |
This broadcast has been brought to you | 0:40:50 | 0:40:52 | |
by the Pepsidon Pepsi Cola company, | 0:40:52 | 0:40:55 | |
in association with the Dallas Memorial Fund. | 0:40:55 | 0:40:58 | |
And a championship between the waiting staff | 0:41:00 | 0:41:02 | |
and the celebrity guests. | 0:41:02 | 0:41:03 | |
-Yes, yes, yes, yes! -No! | 0:41:05 | 0:41:07 | |
More Billy Bunter readings by Stephen Fry... | 0:41:07 | 0:41:10 | |
"Hassan gave a cough." | 0:41:10 | 0:41:11 | |
HE CLEARS THROAT | 0:41:11 | 0:41:13 | |
Later, Peter found time to have some fun and games | 0:41:13 | 0:41:16 | |
with a loaded gun belonging to a security guard. | 0:41:16 | 0:41:19 | |
This, of course, was back in the day | 0:41:19 | 0:41:21 | |
when you could still joke about such things. | 0:41:21 | 0:41:23 | |
-Is it loaded? -Yes, it IS loaded. | 0:41:23 | 0:41:27 | |
And, for a bribe, Peter persuaded the security guard to attempt | 0:41:33 | 0:41:37 | |
a half-hearted arrest on an unruffled John Cleese. | 0:41:37 | 0:41:40 | |
Earlier, we heard an interview | 0:41:44 | 0:41:46 | |
acclaiming that Peter had an obsession with nuns. | 0:41:46 | 0:41:49 | |
In many of your TV sketches, heaven and, in fact, nuns | 0:41:49 | 0:41:52 | |
seem to feature pretty prominently. | 0:41:52 | 0:41:55 | |
We were unsure if that were true, | 0:41:55 | 0:41:57 | |
but swayed when we explored the house. | 0:41:57 | 0:42:00 | |
From the garden can be seen the quasi-ecclesiastical windows | 0:42:00 | 0:42:03 | |
and when we went up to the rooftop, | 0:42:03 | 0:42:05 | |
we discovered that his house directly overlooks a convent. | 0:42:05 | 0:42:09 | |
Looking through the archive, | 0:42:12 | 0:42:14 | |
it's clear that Peter missed no opportunity | 0:42:14 | 0:42:16 | |
to stick Dudley into a wimple and a habit, and himself, come to that. | 0:42:16 | 0:42:20 | |
LAUGHTER | 0:42:24 | 0:42:27 | |
LAUGHTER | 0:42:30 | 0:42:33 | |
Well, it all began in the 14th or 15th century. | 0:42:33 | 0:42:37 | |
It had its origins there, you know, when St Beryl, | 0:42:37 | 0:42:40 | |
who was the daughter of St Vitus, the well-known dancer... | 0:42:40 | 0:42:43 | |
LAUGHTER | 0:42:43 | 0:42:45 | |
I'm not aware that he's obsessed with nuns. | 0:42:45 | 0:42:47 | |
-How can you ask me that question? -Only in a comedic way. -I don't know. | 0:42:47 | 0:42:51 | |
-LAUGHTER -# Leap, leap, leap, leap, | 0:42:51 | 0:42:53 | |
# Leap, leap | 0:42:53 | 0:42:54 | |
-# Leap in the morning... # -LAUGHTER | 0:42:54 | 0:42:58 | |
It could be that they inspired him, I don't know, | 0:42:58 | 0:43:02 | |
but it's not me to say. | 0:43:02 | 0:43:03 | |
Do you leap at all yourself, madam? | 0:43:03 | 0:43:05 | |
Well, I love to leap, as indeed who doesn't? | 0:43:05 | 0:43:07 | |
LAUGHTER | 0:43:07 | 0:43:09 | |
When was that sketch done? | 0:43:09 | 0:43:11 | |
He moved here in about 1970. | 0:43:11 | 0:43:14 | |
So that was before he moved here. | 0:43:15 | 0:43:17 | |
Yeah, but he may have moved here because he was obsessed by nuns. | 0:43:17 | 0:43:21 | |
LAUGHTER | 0:43:21 | 0:43:24 | |
Peter was obsessed by sport throughout his life. | 0:43:28 | 0:43:31 | |
He later codified the rules for that Nile trip ball game he invented, | 0:43:31 | 0:43:35 | |
which he called los bollocos, into a very formal detailed document | 0:43:35 | 0:43:40 | |
and on days when he didn't feel like walking to the golf course, | 0:43:40 | 0:43:43 | |
he invented his own version, | 0:43:43 | 0:43:44 | |
which he played outside his own front door, | 0:43:44 | 0:43:47 | |
roping in bemused neighbours, friends and passers-by, | 0:43:47 | 0:43:50 | |
and making use of any items in the street that came to hand. | 0:43:50 | 0:43:54 | |
Once again, our mystery camera operator - possibly a neighbour - | 0:43:54 | 0:43:57 | |
seemingly suffering from Meniere's disease, | 0:43:57 | 0:44:00 | |
was instructed to capture the vital moments | 0:44:00 | 0:44:02 | |
of this impromptu tournament. | 0:44:02 | 0:44:04 | |
There's the par 3, | 0:44:04 | 0:44:06 | |
18 Perrins Walk. | 0:44:06 | 0:44:08 | |
Winds left to right and right to left. | 0:44:10 | 0:44:12 | |
CAMERA OPERATOR LAUGHS | 0:44:12 | 0:44:14 | |
I told you a 2-putter. | 0:44:22 | 0:44:24 | |
He's mad! | 0:44:27 | 0:44:28 | |
CAMERA OPERATOR LAUGHS | 0:44:30 | 0:44:33 | |
-Did it go in? -Ooh... Wow! | 0:44:33 | 0:44:35 | |
Peter's early brilliance and youthful good looks | 0:44:43 | 0:44:45 | |
entranced even the most famous woman in the world | 0:44:45 | 0:44:48 | |
in that fateful year of 1963. | 0:44:48 | 0:44:50 | |
A note from Jackie Kennedy to Adlai Stevenson has been discovered, | 0:44:50 | 0:44:54 | |
thanking him for her Beyond The Fringe tickets. | 0:44:54 | 0:44:56 | |
In it, she praises the show, saying that it "ran the gamut - comedy, | 0:44:56 | 0:45:00 | |
"drama and, for me, abandoned delight. | 0:45:00 | 0:45:02 | |
"The gayest, happiest evening imaginable." | 0:45:02 | 0:45:05 | |
The story wasn't known at the time, | 0:45:05 | 0:45:07 | |
but Jackie Kennedy allegedly joined a long list of Peter's lovers | 0:45:07 | 0:45:10 | |
during his twenties. | 0:45:10 | 0:45:12 | |
When we weren't filming Lin, but running an audio recording, | 0:45:12 | 0:45:16 | |
we asked her if she could confirm if Peter had had the rumoured affair. | 0:45:16 | 0:45:20 | |
Our question reduced Lin to an uncharacteristic whisper. | 0:45:20 | 0:45:23 | |
I know they met when Peter was performing in New York with Dudley. | 0:45:27 | 0:45:31 | |
At one time when I went to listen to Alan Bennett at the Southbank, | 0:45:31 | 0:45:35 | |
I was amazed, as probably was the rest of the audience, | 0:45:35 | 0:45:39 | |
when Alan said he was sure there was something | 0:45:39 | 0:45:42 | |
between Jackie Kennedy and Peter | 0:45:42 | 0:45:44 | |
because he saw Jackie tenderly stroking Peter's hand | 0:45:44 | 0:45:47 | |
at some event or other. | 0:45:47 | 0:45:50 | |
And I remember being told that... | 0:45:50 | 0:45:53 | |
..President had wanted them to go to the White House to perform, | 0:45:54 | 0:45:58 | |
but the agent and the other three were very excited and happy | 0:45:58 | 0:46:02 | |
and went and told Peter that | 0:46:02 | 0:46:03 | |
"President wants us to go to the White House." | 0:46:03 | 0:46:06 | |
To their dismay, what Peter said was, "I'm not an effing cabaret," | 0:46:08 | 0:46:13 | |
and he refused to go. | 0:46:13 | 0:46:16 | |
So the President had to go to the theatre | 0:46:16 | 0:46:18 | |
to see the show like everybody else. | 0:46:18 | 0:46:20 | |
Apart from that, Mrs President, how did you enjoy the show? | 0:46:22 | 0:46:26 | |
Throughout the decades, Peter's house was a regular drop-in | 0:46:30 | 0:46:34 | |
for a wide range of celebrities, | 0:46:34 | 0:46:36 | |
including the occasional Rolling Stone. | 0:46:36 | 0:46:39 | |
I know he was close to the Stones, I mean, | 0:46:39 | 0:46:42 | |
particularly Ronnie Wood and Keith Richards | 0:46:42 | 0:46:46 | |
and I think they were very fond of him too, | 0:46:46 | 0:46:49 | |
because I remember Keith telling me | 0:46:49 | 0:46:52 | |
that when they were fed up or unhappy on tour, | 0:46:52 | 0:46:55 | |
they would always play Derek and Clive. | 0:46:55 | 0:46:58 | |
We're doing reactions now, very close. | 0:46:58 | 0:47:00 | |
-Lovely map of Nigeria. -Isn't that good? | 0:47:00 | 0:47:03 | |
-Some of it's very accurate, actually. -I never knew that river. | 0:47:03 | 0:47:07 | |
Bizarrely, the Stones were particularly interested | 0:47:07 | 0:47:09 | |
in cartography, in particular Peter's map of Nigeria, | 0:47:09 | 0:47:12 | |
that's still on the wall to this day. | 0:47:12 | 0:47:14 | |
Use of my freeze-frame button even reveals Ian Dury, | 0:47:19 | 0:47:23 | |
who was a huge Peter Cook fan. | 0:47:23 | 0:47:25 | |
Send in the next auditioner, would you? | 0:47:31 | 0:47:34 | |
As this programme is called The Undiscovered Peter Cook, | 0:47:34 | 0:47:36 | |
we were reluctant to show Peter's most famous sketch, | 0:47:36 | 0:47:39 | |
written when he was still a student, about a one-legged man | 0:47:39 | 0:47:42 | |
auditioning for Tarzan, but here it is, | 0:47:42 | 0:47:44 | |
though as you've never seen it before. | 0:47:44 | 0:47:45 | |
HE SPEAKS IN HUNGARIAN | 0:47:45 | 0:47:49 | |
HE SPEAKS IN HUNGARIAN | 0:47:56 | 0:47:58 | |
LAUGHTER | 0:47:58 | 0:48:00 | |
As you can see from this tape sent to Peter | 0:48:00 | 0:48:03 | |
by a producer from Hungarian television | 0:48:03 | 0:48:05 | |
the actor wearing the wooden leg, seemingly taken from a table, | 0:48:05 | 0:48:08 | |
has missed the entire point of the sketch. | 0:48:08 | 0:48:10 | |
So, sadly, the famous line, "I've nothing against your right leg. | 0:48:10 | 0:48:14 | |
"Unfortunately, neither have you," makes no sense whatsoever. | 0:48:14 | 0:48:17 | |
But with typical generosity, | 0:48:17 | 0:48:19 | |
Peter encouraged his Hungarian proteges | 0:48:19 | 0:48:21 | |
and was personally presented with a video of the show, | 0:48:21 | 0:48:23 | |
autographed by the entire cast, | 0:48:23 | 0:48:25 | |
and he even took the producer out for lunch in London. | 0:48:25 | 0:48:28 | |
The comedian and satirist Peter Cook has died in hospital. He was 57. | 0:48:33 | 0:48:38 | |
Peter died early in the morning and when I left the hospital... | 0:48:44 | 0:48:49 | |
..the whole world seemed very strange. | 0:48:50 | 0:48:52 | |
I got a cab and I came home... | 0:48:53 | 0:48:55 | |
..pulled all the blinds down at his house and went back to my own home. | 0:48:58 | 0:49:05 | |
I was in such a state of shock. I probably was like a zombie. | 0:49:07 | 0:49:11 | |
You know, after Peter died, I just did not know what to do, | 0:49:14 | 0:49:18 | |
how to arrange a funeral or memorial services or anything. | 0:49:18 | 0:49:24 | |
A few months after his death, | 0:49:26 | 0:49:27 | |
Lin Cook arranged a memorial service for Peter | 0:49:27 | 0:49:30 | |
at his local church in Hampstead. | 0:49:30 | 0:49:32 | |
The BBC suggested a somewhat grander venue. | 0:49:32 | 0:49:34 | |
I did speak to the person - I forget his name - at the BBC, | 0:49:34 | 0:49:37 | |
who told me Peter could have the memorial service | 0:49:37 | 0:49:42 | |
at Westminster Abbey, and I said, "No, no, no," | 0:49:42 | 0:49:45 | |
because that wouldn't be Peter, | 0:49:45 | 0:49:47 | |
because Hampstead was like his beloved territory. | 0:49:47 | 0:49:52 | |
So it was, that on May 1, 1995, | 0:49:53 | 0:49:56 | |
mostly everyone involved in British comedy at the time | 0:49:56 | 0:49:59 | |
turned up to show their respects. | 0:49:59 | 0:50:01 | |
And seemingly, everyone from British sport too. | 0:50:01 | 0:50:03 | |
Oh, and Dave Allen. | 0:50:03 | 0:50:05 | |
Lin insisted that only her stills photographer could cover the events | 0:50:07 | 0:50:11 | |
from inside the church but, thankfully for us, | 0:50:11 | 0:50:13 | |
the photographer failed to follow orders and so it is that we have | 0:50:13 | 0:50:18 | |
a somewhat nervously shot video of the memorial. | 0:50:18 | 0:50:21 | |
To my dismay and annoyance, | 0:50:21 | 0:50:23 | |
they later told me that they had also made a video of the guests, | 0:50:23 | 0:50:28 | |
so for years, I've kept both the recording and the video | 0:50:28 | 0:50:33 | |
put away somewhere in the house and this video has never been seen ever. | 0:50:33 | 0:50:38 | |
I don't think I've ever seen it myself too. | 0:50:38 | 0:50:40 | |
There were moving tributes from Eleanor Bron, | 0:50:40 | 0:50:43 | |
Richard Ingrams, John Cleese and, of course, Dudley. | 0:50:43 | 0:50:47 | |
Dudley was, of course, a central figure | 0:50:48 | 0:50:50 | |
and he told some very funny stories about Peter. | 0:50:50 | 0:50:52 | |
"I met my wife during the war. | 0:50:52 | 0:50:55 | |
"She blew in through the window on a piece of shrapnel and became..." | 0:50:56 | 0:51:00 | |
LAUGHTER | 0:51:00 | 0:51:03 | |
"..became buried in the sofa." | 0:51:08 | 0:51:10 | |
LAUGHTER | 0:51:10 | 0:51:13 | |
"One thing led to my mother..." | 0:51:13 | 0:51:15 | |
LAUGHTER | 0:51:15 | 0:51:19 | |
"..and we were married within the hour." | 0:51:20 | 0:51:22 | |
LAUGHTER | 0:51:22 | 0:51:26 | |
I laughed for a week when he spontaneously came out with that. | 0:51:26 | 0:51:29 | |
Peter Cook was tone deaf. | 0:51:29 | 0:51:33 | |
LAUGHTER | 0:51:33 | 0:51:35 | |
He didn't display an overt sympathy for things musical, | 0:51:35 | 0:51:39 | |
except for Elvis Presley... | 0:51:39 | 0:51:41 | |
..he might have mentioned, whom he would imitate at the drop of a hat. | 0:51:43 | 0:51:47 | |
I, therefore, agonised over what to play | 0:51:48 | 0:51:51 | |
until the mists were cleared by one of my confreres | 0:51:51 | 0:51:54 | |
who, during a phone call, mentioned the fact that I had to call it. | 0:51:54 | 0:51:58 | |
It seems as appropriate as anything, | 0:51:58 | 0:52:00 | |
since the title comes from one of Peter's concepts - | 0:52:00 | 0:52:03 | |
that of a blind man reading on the TV from Braille. | 0:52:03 | 0:52:08 | |
LAUGHTER | 0:52:08 | 0:52:11 | |
"Good evening" - one of his favourite utterances - | 0:52:12 | 0:52:17 | |
"I am blond." | 0:52:17 | 0:52:19 | |
LAUGHTER | 0:52:19 | 0:52:22 | |
"And I'm reading to you through the miracle of broil." | 0:52:24 | 0:52:27 | |
LAUGHTER | 0:52:27 | 0:52:30 | |
"I'm sorry, I'll feel that again." | 0:52:33 | 0:52:35 | |
LAUGHTER | 0:52:35 | 0:52:38 | |
Three Blond Mice. | 0:52:39 | 0:52:40 | |
Dudley didn't yet know it, but he was already in the early stages | 0:52:40 | 0:52:43 | |
of the progressive supranuclear palsy | 0:52:43 | 0:52:45 | |
that would eventually kill him. | 0:52:45 | 0:52:47 | |
DUDLEY PLAYS PIANO | 0:52:47 | 0:52:51 | |
I think this might be the last photograph | 0:53:08 | 0:53:11 | |
that was ever taken of Peter and Dudley together. | 0:53:11 | 0:53:14 | |
I took it. So much that's in the press is wrong. | 0:53:16 | 0:53:21 | |
People make assumptions about Peter, about me, | 0:53:21 | 0:53:25 | |
and Dudley too, of course, but they do not know us at all. | 0:53:25 | 0:53:30 | |
And it's totally untrue that Peter didn't get on. | 0:53:30 | 0:53:34 | |
They were good friends. | 0:53:34 | 0:53:36 | |
They always had a special friendship, | 0:53:36 | 0:53:38 | |
so they were close towards the end and they often met up. | 0:53:38 | 0:53:41 | |
He was always in touch with Peter. | 0:53:41 | 0:53:44 | |
Even Peter's memorial service was not free from religious controversy, | 0:53:49 | 0:53:53 | |
Lin wanted a choir from Radley | 0:53:53 | 0:53:55 | |
to sing Peter's favourite Elvis Presley hit, Love Me Tender, | 0:53:55 | 0:53:58 | |
but the vicar was having none of it. | 0:53:58 | 0:54:01 | |
I went to see the local vicar. | 0:54:01 | 0:54:03 | |
After I'd found out about how a memorial service should be | 0:54:03 | 0:54:06 | |
and what's what, and seen a couple of order of service, | 0:54:06 | 0:54:10 | |
I then had some idea. | 0:54:10 | 0:54:12 | |
So, off I went to the vicar and said, | 0:54:12 | 0:54:15 | |
"I would like the Radley boys choir | 0:54:15 | 0:54:17 | |
"to sing at Peter's memorial service | 0:54:17 | 0:54:20 | |
"and it's an Elvis song, Love Me tender." | 0:54:20 | 0:54:24 | |
Vicar said, "No, no, no, couldn't have that, | 0:54:24 | 0:54:28 | |
"and it has to be the church choir." | 0:54:28 | 0:54:30 | |
To which I promptly said, "Well, if I can't have that, | 0:54:30 | 0:54:34 | |
"I'll have to hold the memorial service elsewhere, | 0:54:34 | 0:54:37 | |
"because I've set my heart on that." | 0:54:37 | 0:54:39 | |
And the result? Lin Cook 1, the Church of England 0. | 0:54:39 | 0:54:43 | |
So, he then agreed. | 0:54:45 | 0:54:47 | |
# ..Belong, and we'll never... | 0:54:47 | 0:54:51 | |
And the boys sang it so beautifully. | 0:54:51 | 0:54:55 | |
# Love me tender | 0:54:55 | 0:54:57 | |
# Love me true | 0:54:57 | 0:55:00 | |
# All my dreams fulfilled...# | 0:55:00 | 0:55:06 | |
CHURCH ORGAN MUSIC | 0:55:08 | 0:55:11 | |
After the service, one of Peter's oldest friends, David Frost, | 0:55:14 | 0:55:17 | |
explained how important Lin had been to Peter's life | 0:55:17 | 0:55:20 | |
and further confirmed that there was never any enmity | 0:55:20 | 0:55:23 | |
between the two men. | 0:55:23 | 0:55:24 | |
-Who are we talking for? -This is for Lin. -This is for Lin? -Yeah. | 0:55:24 | 0:55:29 | |
Lin, that was a wonderful service you organised. | 0:55:30 | 0:55:35 | |
You were so wonderful for Peter | 0:55:36 | 0:55:39 | |
and we were celebrating today, weren't we, as well as grieving? | 0:55:39 | 0:55:43 | |
Celebrating... People talk about "His life's work" about people | 0:55:43 | 0:55:47 | |
and in Peter's case, it was his life's work and his life's play too, | 0:55:47 | 0:55:51 | |
cos of that laughter he brought to us all and... | 0:55:51 | 0:55:54 | |
He was the first time in my life | 0:55:55 | 0:55:56 | |
that I was conscious of meeting a genius. That was up at Cambridge. | 0:55:56 | 0:55:59 | |
And he stayed that way - of course he did. | 0:55:59 | 0:56:01 | |
Once you're a genius, always a genius. So original. | 0:56:01 | 0:56:05 | |
We'll miss his originality and... | 0:56:05 | 0:56:07 | |
..you'll miss so much more, of course, | 0:56:08 | 0:56:11 | |
but join us in the celebrations as well, if you can, | 0:56:11 | 0:56:15 | |
because all the people here today love him | 0:56:15 | 0:56:19 | |
and they love you and they love what you did for him. | 0:56:19 | 0:56:23 | |
One other thing, David. A last word to Peter, you know. | 0:56:26 | 0:56:30 | |
A last thing you would say to Peter. | 0:56:33 | 0:56:35 | |
-That's looking at me. -What would be my last words to Peter? | 0:56:36 | 0:56:41 | |
Well, I guess, thank you for saving me from drowning. | 0:56:41 | 0:56:45 | |
-Why do you say that? -It's... | 0:56:46 | 0:56:49 | |
Well, it was part of the service today and it really did happen. | 0:56:49 | 0:56:53 | |
And, of course, you're grateful. | 0:56:53 | 0:56:55 | |
Grateful to him for a lot else too. | 0:56:55 | 0:56:57 | |
And Dame Edna turned up in drag. | 0:56:57 | 0:57:00 | |
Er, I've got lots of memories of Peter. | 0:57:02 | 0:57:05 | |
He was such a help to me in my early days | 0:57:05 | 0:57:08 | |
and though I saw little of him in the last years, | 0:57:08 | 0:57:14 | |
we always met as old friends. | 0:57:14 | 0:57:17 | |
And, um, his... | 0:57:17 | 0:57:20 | |
It's quite impossible for me to think of him as dead | 0:57:20 | 0:57:24 | |
because he's a perpetual spirit. | 0:57:24 | 0:57:27 | |
# Now's the time to say goodbye | 0:57:33 | 0:57:35 | |
# Now's the time to yield a sigh | 0:57:40 | 0:57:42 | |
# Now's the time to wend our wa-a-a-y | 0:57:44 | 0:57:47 | |
# Until we meet again | 0:57:48 | 0:57:50 | |
# Some sunny day | 0:57:53 | 0:57:55 | |
# Goodbye, goodbye... # | 0:57:59 | 0:58:02 | |
I do not think anyone can understand | 0:58:02 | 0:58:04 | |
what made Peter the comedy genius that he was. | 0:58:04 | 0:58:08 | |
For me, he was someone special, who I got to understand and love. | 0:58:09 | 0:58:12 | |
He turned my life upside down when he came into it... | 0:58:12 | 0:58:16 | |
..shattered it when he left. | 0:58:18 | 0:58:20 | |
I still miss his energy, his warmth, his company and his love. | 0:58:23 | 0:58:27 | |
# We're leaving you with goodbye | 0:58:27 | 0:58:30 | |
# Goodbye | 0:58:30 | 0:58:32 | |
# We wish you all goodbye. # | 0:58:32 | 0:58:37 |