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"Exciting", "pioneering", "dangerous". | 0:00:13 | 0:00:17 | |
Words used to describe British comedy's original bad boys, | 0:00:17 | 0:00:22 | |
Peter Cook and Dudley Moore. | 0:00:22 | 0:00:24 | |
They were pushing at humour's boundaries | 0:00:24 | 0:00:26 | |
from the moment they burst onto the scene in the 1960s. | 0:00:26 | 0:00:31 | |
Peter Cook was then widely considered the funniest man alive. | 0:00:31 | 0:00:35 | |
Moore was, for a time, Hollywood's unlikeliest sex symbol. | 0:00:35 | 0:00:38 | |
As part of the legendary Beyond The Fringe group, | 0:00:40 | 0:00:42 | |
along with Jonathan Miller and Alan Bennett, | 0:00:42 | 0:00:45 | |
they were leading lights in the satirical movement, | 0:00:45 | 0:00:48 | |
setting their sights on politics, royalty and the class system. | 0:00:48 | 0:00:52 | |
They then paired off together on television | 0:00:53 | 0:00:56 | |
with Not Only... But Also, | 0:00:56 | 0:00:58 | |
and onstage with hit shows like Behind The Fridge. | 0:00:58 | 0:01:01 | |
We'll start with a glimpse of them after one performance and a taste of | 0:01:02 | 0:01:06 | |
the spontaneous way they always bounced off each other. | 0:01:06 | 0:01:09 | |
# The overture is about to start | 0:01:09 | 0:01:13 | |
# You cross your fingers and hold your heart | 0:01:13 | 0:01:16 | |
# It's curtain time and away we go | 0:01:16 | 0:01:19 | |
# Another openin' of another show | 0:01:19 | 0:01:23 | |
# Another openin'... # | 0:01:23 | 0:01:25 | |
-What did you think of the show tonight? -I thought it was OK. | 0:01:25 | 0:01:28 | |
I thought the tiny one was a little pushy. | 0:01:28 | 0:01:32 | |
-The little chap? -Yes. | 0:01:32 | 0:01:33 | |
He was a bit sort of... I don't know, he seemed to mug a lot. | 0:01:33 | 0:01:35 | |
-Yes. He goes over the top quite a lot. -Goes over the top. | 0:01:35 | 0:01:39 | |
I enjoyed the bit when the... | 0:01:39 | 0:01:41 | |
-You know that thing comes down? What's it called? -The thing? | 0:01:41 | 0:01:45 | |
-No, the curtain. -Yes. | 0:01:45 | 0:01:46 | |
I thought that was tremendously well done. | 0:01:46 | 0:01:48 | |
-Yes. -It came down on cue. | 0:01:48 | 0:01:50 | |
-Yes. -And one had a chance to get out... | 0:01:50 | 0:01:53 | |
And get out of the blasted theatre. | 0:01:53 | 0:01:54 | |
-Yes, I thought that was nice. -Yes, I enjoyed that. I quite... | 0:01:54 | 0:01:57 | |
I thought in a way it was rather like a fine wine, you know. | 0:01:57 | 0:02:00 | |
-Yes. -It didn't travel. | 0:02:00 | 0:02:02 | |
-No. -Do you travel much? | 0:02:02 | 0:02:04 | |
-Seldom. -Seldom, yes. | 0:02:04 | 0:02:05 | |
It's best to stay in the same place for about a year, isn't it? | 0:02:05 | 0:02:08 | |
Who are you, by the way? | 0:02:08 | 0:02:10 | |
You met me about a second ago. | 0:02:10 | 0:02:13 | |
-That's right. -I'm that chap you met about a second ago. | 0:02:13 | 0:02:15 | |
That's right, yes, yes, silly of me. | 0:02:15 | 0:02:18 | |
Yes. Well, very nice to see you and... | 0:02:18 | 0:02:20 | |
Well, good luck with the thing. | 0:02:20 | 0:02:21 | |
Yes, I hope everything... | 0:02:21 | 0:02:23 | |
-Yes, it will. -Is she still...? | 0:02:23 | 0:02:24 | |
She's a little... As you can imagine, she had one of those... | 0:02:24 | 0:02:28 | |
Well, I understand, but... | 0:02:28 | 0:02:29 | |
Mine was having, sort of, you know... | 0:02:29 | 0:02:31 | |
Henry, you know, he had one of his... | 0:02:31 | 0:02:33 | |
Did he? Twice. | 0:02:33 | 0:02:35 | |
Yes. Anyway, awfully nice. | 0:02:35 | 0:02:36 | |
Nice to see you, and I'll be seeing you... | 0:02:36 | 0:02:39 | |
Well, in about, I should say, about a second. | 0:02:39 | 0:02:41 | |
Cook and Moore revelled in the ridiculous. | 0:02:44 | 0:02:47 | |
They enjoyed nothing more than cracking up at each other's jokes, | 0:02:47 | 0:02:51 | |
and created in their Pete and Dud personas | 0:02:51 | 0:02:53 | |
one of the funniest double acts ever seen on television. | 0:02:53 | 0:02:57 | |
Here's a little glimpse of Dudley appearing as Dud and others | 0:02:57 | 0:03:01 | |
on the BBC Two review programme Late Night Line-Up, | 0:03:01 | 0:03:05 | |
introduced by Joan Bakewell. | 0:03:05 | 0:03:07 | |
And now, Not Only... But Also. When this series originally opened, | 0:03:11 | 0:03:16 | |
it received rather mixed reviews from the television critics | 0:03:16 | 0:03:19 | |
of the national press, | 0:03:19 | 0:03:21 | |
but by the time the series ended, | 0:03:21 | 0:03:23 | |
this had changed to national acclaim. | 0:03:23 | 0:03:25 | |
Well, in view of the fact of the attention | 0:03:25 | 0:03:27 | |
that this programme has commanded, | 0:03:27 | 0:03:29 | |
we have invited several critics along tonight to talk about it. | 0:03:29 | 0:03:33 | |
Here they are, introduced by Dudley Moore. | 0:03:33 | 0:03:36 | |
Good evening. Tonight, we have a discussion | 0:03:36 | 0:03:39 | |
of the programme Not Only... But Also, | 0:03:39 | 0:03:42 | |
and with me in the studio to discuss the programme, | 0:03:42 | 0:03:45 | |
we have critic Lyndon Prubes. | 0:03:45 | 0:03:48 | |
Good evening. | 0:03:48 | 0:03:50 | |
And joining him, two newcomers to Late Night Line-Up. | 0:03:50 | 0:03:54 | |
First, the sweetheart of the Drury Lane | 0:03:54 | 0:03:57 | |
and the star of many musical comedy hits of yesteryear, | 0:03:57 | 0:04:01 | |
such as My Ukulele Dreamboat and Sweet Jimmy O'Casey, | 0:04:01 | 0:04:05 | |
Miss Deirdre Flank. | 0:04:05 | 0:04:08 | |
That's going back quite a bit, isn't it? | 0:04:08 | 0:04:10 | |
Good evening. | 0:04:10 | 0:04:12 | |
Secondly, someone who is directly connected | 0:04:12 | 0:04:14 | |
with the programme every week... | 0:04:14 | 0:04:16 | |
..Dud. | 0:04:17 | 0:04:19 | |
Oh, sorry. Uh, good evening. | 0:04:20 | 0:04:23 | |
I'd like to start the ball rolling with a question to Lyndon Prubes. | 0:04:24 | 0:04:30 | |
Lyndon, do you think there's a danger | 0:04:30 | 0:04:33 | |
that this kind of programme might give birth | 0:04:33 | 0:04:36 | |
to a lot of second-rate imitations | 0:04:36 | 0:04:39 | |
and thus contaminate television viewing for people? | 0:04:39 | 0:04:42 | |
Well, I think the damage has been done already, hasn't it, really? | 0:04:42 | 0:04:47 | |
I mean, if people can't think of anything more original | 0:04:47 | 0:04:50 | |
than doing sketches and having musical items, | 0:04:50 | 0:04:53 | |
then I'm very sorry for them. | 0:04:53 | 0:04:55 | |
I mean, we have seen it all before, haven't we? | 0:04:55 | 0:04:58 | |
Mind you, the stars of this show, | 0:04:58 | 0:05:01 | |
Peter Cook and Dudley Moore, are frightfully young. | 0:05:01 | 0:05:05 | |
I mean, they probably haven't seen very much of life. | 0:05:05 | 0:05:09 | |
Perhaps with a little more experience of people | 0:05:09 | 0:05:12 | |
and the real earthiness of life and life as it's really lived, | 0:05:12 | 0:05:16 | |
this crude clay of modern living, | 0:05:16 | 0:05:20 | |
then perhaps they'll produce | 0:05:20 | 0:05:22 | |
something more compelling and pertinent for us. | 0:05:22 | 0:05:26 | |
Thank you very much, Lyndon. | 0:05:26 | 0:05:28 | |
Miss Flank, or Deirdre, if I can call you that, | 0:05:28 | 0:05:31 | |
you were the toast of the West End some 30 years ago, weren't you, | 0:05:31 | 0:05:35 | |
before Cook and Moore were born. | 0:05:35 | 0:05:38 | |
What do you think of the mixture, | 0:05:38 | 0:05:40 | |
this new mixture of satire and whimsy | 0:05:40 | 0:05:43 | |
that people term "the new comedy"? | 0:05:43 | 0:05:46 | |
Well... | 0:05:46 | 0:05:47 | |
it seems to me that the new comedy merely consists | 0:05:47 | 0:05:51 | |
of saying filthy words like... | 0:05:51 | 0:05:53 | |
..B-L-O-O-D-Y. | 0:05:54 | 0:05:57 | |
And you especially seem to favour that word more than it deserves. | 0:05:57 | 0:06:00 | |
-Bloody sauce. -Urgh! | 0:06:00 | 0:06:02 | |
A year after that appearance, | 0:06:05 | 0:06:07 | |
Late Night Line-Up was celebrating its 1,000th episode. | 0:06:07 | 0:06:13 | |
To mark the occasion, the programme came live from Soho | 0:06:13 | 0:06:17 | |
and let Cook and Moore take the proceedings over completely. | 0:06:17 | 0:06:23 | |
Who would have thought 1,000 years ago... | 0:06:23 | 0:06:26 | |
LAUGHTER | 0:06:26 | 0:06:29 | |
..that we would be sitting here today... | 0:06:29 | 0:06:31 | |
..on the millionth anniversary... | 0:06:32 | 0:06:35 | |
..of Late Night Line-Up | 0:06:36 | 0:06:38 | |
or LNMRSNUP, | 0:06:38 | 0:06:41 | |
as it's known to intimates and sophisticates all over the world. | 0:06:41 | 0:06:46 | |
I don't know, who would have thought, Pete? | 0:06:46 | 0:06:48 | |
That was a rhetorical question, Dud, | 0:06:48 | 0:06:50 | |
it wasn't actually seriously concerned | 0:06:50 | 0:06:52 | |
with the individuality of the person who'd have thought it. | 0:06:52 | 0:06:55 | |
-I see. -And anyone who spends his time | 0:06:55 | 0:06:57 | |
thinking up what two stupid people | 0:06:57 | 0:07:00 | |
sitting at the table in 1,000 years' time would be doing, | 0:07:00 | 0:07:03 | |
must be out of their mind. | 0:07:03 | 0:07:05 | |
I think we must proffer our heartfelt congratulations | 0:07:05 | 0:07:09 | |
-to Mr David Attenborough here. -Bless his heart. -Bless his heart. | 0:07:09 | 0:07:12 | |
-Bless his cotton socks. -APPLAUSE | 0:07:12 | 0:07:15 | |
Who moved on from the heady world of making wonderful documentary films | 0:07:15 | 0:07:21 | |
about the mating habits of Armand and Michaela Denis... | 0:07:21 | 0:07:24 | |
LAUGHTER AND APPLAUSE | 0:07:24 | 0:07:27 | |
..to pioneer a system of television | 0:07:27 | 0:07:30 | |
unrivalled throughout the whole human world. | 0:07:30 | 0:07:33 | |
Not to mention ants. | 0:07:33 | 0:07:35 | |
I'm looking forward, actually, to this colour change business. | 0:07:35 | 0:07:38 | |
-What, the advent? -No, the colour change on BBC Two. | 0:07:38 | 0:07:42 | |
The advent of colour television on BBC Two? | 0:07:42 | 0:07:45 | |
Yeah. I'm looking forward to that. | 0:07:45 | 0:07:46 | |
Bringing as it does... I mean, | 0:07:46 | 0:07:48 | |
in the past, we have had to sit through | 0:07:48 | 0:07:50 | |
grey, dismal programmes in black and white. | 0:07:50 | 0:07:53 | |
Now we can watch dismal red, blue and green programmes. | 0:07:53 | 0:07:57 | |
-I wouldn't say that. -No? Wouldn't you? | 0:07:57 | 0:08:00 | |
-No, I said it, so there's no reason why you should... -No reason. | 0:08:00 | 0:08:03 | |
There we saw Pete and Dud working very much together, | 0:08:06 | 0:08:10 | |
but they were equally well-known for the individual performances | 0:08:10 | 0:08:14 | |
that were part of their shows. | 0:08:14 | 0:08:16 | |
Dudley was one of the most gifted pianists of his generation, | 0:08:16 | 0:08:19 | |
renowned for frenzied performances of the classics, | 0:08:19 | 0:08:22 | |
delivered with his own comic twist. | 0:08:22 | 0:08:26 | |
Peter's solo routines tended to be more low-key. | 0:08:26 | 0:08:29 | |
One of his most popular characters | 0:08:29 | 0:08:32 | |
was the famously dull EL Wisty, | 0:08:32 | 0:08:34 | |
who came up in this Parkinson show | 0:08:34 | 0:08:36 | |
featuring the entire cast of Beyond The Fringe. | 0:08:36 | 0:08:40 | |
Where do you get your material from? | 0:08:40 | 0:08:41 | |
Do you actually, sort of, pick up bits of what people say, | 0:08:41 | 0:08:46 | |
or is it right from the top of your head? | 0:08:46 | 0:08:48 | |
Not very much. I don't pick up from what people say. | 0:08:48 | 0:08:51 | |
There happens to be one number in the show which actually is based on | 0:08:51 | 0:08:55 | |
somebody I knew, | 0:08:55 | 0:08:57 | |
who was a don at Cambridge who was very bored... | 0:08:57 | 0:09:00 | |
..with his life as a don in that he was delivering the same lecture | 0:09:01 | 0:09:05 | |
every day. It was the same lecture and I realised very quickly | 0:09:05 | 0:09:09 | |
when I went to Cambridge that I didn't need to go to lectures. | 0:09:09 | 0:09:13 | |
All I had to do was buy the book and read it, you know. | 0:09:13 | 0:09:16 | |
So that is based on real life, but on the whole things come from... | 0:09:16 | 0:09:20 | |
inside me when I'm writing. | 0:09:20 | 0:09:22 | |
-What about EL Wisty? -EL Wisty, he came from nowhere. | 0:09:22 | 0:09:25 | |
I have never met anybody like him. | 0:09:25 | 0:09:27 | |
I trust I never do. | 0:09:27 | 0:09:28 | |
-He's coming up now, actually. -He came from inside me. | 0:09:30 | 0:09:32 | |
-Is he coming up now? -Yes, we've got his hat and his coat. | 0:09:32 | 0:09:34 | |
Hat and coat? | 0:09:34 | 0:09:35 | |
APPLAUSE | 0:09:35 | 0:09:38 | |
Cor blimey. | 0:09:42 | 0:09:43 | |
The original EL Wisty. | 0:09:44 | 0:09:46 | |
Oh, good evening. | 0:09:48 | 0:09:50 | |
Yes, I could have been a judge, but I never had the Latin. | 0:09:50 | 0:09:55 | |
I never had the Latin for the judging. | 0:09:55 | 0:09:57 | |
I just never had sufficient of it | 0:09:57 | 0:09:59 | |
to get through the rigorous judging exams. | 0:09:59 | 0:10:02 | |
They're noted for their rigour. | 0:10:02 | 0:10:04 | |
People come staggering out saying, "My God, what a rigorous exam." | 0:10:04 | 0:10:09 | |
And so I became a miner instead. | 0:10:09 | 0:10:12 | |
A coal miner. | 0:10:12 | 0:10:14 | |
I managed to get through the mining exams. | 0:10:14 | 0:10:17 | |
They are not very rigorous. | 0:10:17 | 0:10:19 | |
They only ask you one question. | 0:10:19 | 0:10:20 | |
They say, "Who are you?" | 0:10:20 | 0:10:23 | |
And I got 75% on that. | 0:10:23 | 0:10:26 | |
Of course, it's quite interesting | 0:10:26 | 0:10:28 | |
getting hold of lumps of coal all day. | 0:10:28 | 0:10:30 | |
It's a very interesting job. | 0:10:30 | 0:10:32 | |
The trouble with it is the people. | 0:10:32 | 0:10:35 | |
I'm not saying you get a load of riffraff down the mine. | 0:10:35 | 0:10:38 | |
I'm not saying that. | 0:10:38 | 0:10:40 | |
I'm just saying we had a load of riffraff down my mine. | 0:10:40 | 0:10:43 | |
Very boring conversation. | 0:10:44 | 0:10:47 | |
Extremely boring. | 0:10:47 | 0:10:49 | |
All they could talk about is about what goes on in the mine. | 0:10:49 | 0:10:53 | |
I mean, it was very boring. | 0:10:53 | 0:10:55 | |
If you were searching for a word | 0:10:55 | 0:10:57 | |
to describe the conversations that go on down the mine, | 0:10:57 | 0:11:01 | |
"boring" would spring to your lips. | 0:11:01 | 0:11:04 | |
Oh, they are very boring indeed. | 0:11:05 | 0:11:07 | |
If ever you want to hear things like... | 0:11:07 | 0:11:10 | |
"Hello, I've found a bit of coal..." | 0:11:10 | 0:11:13 | |
LAUGHTER | 0:11:13 | 0:11:16 | |
"Have you really?" "Yes, there's no doubt about it. | 0:11:18 | 0:11:22 | |
"This black substance is coal all right." | 0:11:22 | 0:11:26 | |
"Jolly good. The very thing we're looking for." | 0:11:26 | 0:11:29 | |
It's not enough to keep the mind alive, is it? | 0:11:30 | 0:11:33 | |
Whoops! | 0:11:33 | 0:11:35 | |
Did you notice that I suddenly said, "Whoops!"? | 0:11:35 | 0:11:40 | |
I suddenly said, "Whoops!" | 0:11:41 | 0:11:44 | |
It's an impediment I got from being down the mine, | 0:11:44 | 0:11:47 | |
cos one day, I was walking along in the dark when I came across | 0:11:47 | 0:11:53 | |
the body of a dead pit pony. | 0:11:53 | 0:11:56 | |
"Whoops!" I went... | 0:11:56 | 0:11:58 | |
in surprise. | 0:11:58 | 0:11:59 | |
And ever since then I've been going, "Whoops!" | 0:11:59 | 0:12:02 | |
And that's another reason why I couldn't be a judge, | 0:12:02 | 0:12:05 | |
because I might have been up there all regal, you know, in my robes, | 0:12:05 | 0:12:10 | |
sentencing away and I could be saying to Ron and Reggie... | 0:12:10 | 0:12:13 | |
..I could be saying, "I sentence you two, Ron and Reggie, to whoops!" | 0:12:15 | 0:12:23 | |
And, you see, the trouble is that under English law | 0:12:23 | 0:12:26 | |
that would have to stand. | 0:12:26 | 0:12:28 | |
So, all in all, I'd rather have been a judge than a miner. | 0:12:28 | 0:12:32 | |
What's more, being a miner, | 0:12:32 | 0:12:34 | |
as soon as you're too old and tired | 0:12:34 | 0:12:37 | |
and sick and stupid to do your job properly, you have to retire. | 0:12:37 | 0:12:41 | |
Well, the very opposite applies with judges. | 0:12:41 | 0:12:44 | |
So, all in all, I would rather have been a judge than a miner. | 0:12:46 | 0:12:50 | |
-Good night. -APPLAUSE | 0:12:50 | 0:12:53 | |
SPEECH DROWNED OUT BY APPLAUSE | 0:12:54 | 0:12:58 | |
You still seem to make each other laugh, actually. | 0:13:06 | 0:13:08 | |
I suppose it's... Did you, when you worked together, | 0:13:08 | 0:13:10 | |
was there any problem of corpsing and giggling and this sort of thing? | 0:13:10 | 0:13:13 | |
All the time. All the time. | 0:13:13 | 0:13:15 | |
-Worst at the end. -Yes, it got worse and worse and worse. | 0:13:15 | 0:13:18 | |
I mean, there were moments when the show simply didn't go on | 0:13:18 | 0:13:21 | |
because one or other of us had done something | 0:13:21 | 0:13:23 | |
which the audience didn't know about, which... | 0:13:23 | 0:13:26 | |
LAUGHTER | 0:13:26 | 0:13:28 | |
..had they known about, | 0:13:28 | 0:13:30 | |
trouble would have broken out. | 0:13:30 | 0:13:32 | |
And Dudley used to stand in the wings when you were doing a sketch, | 0:13:32 | 0:13:36 | |
and so you'd then have to direct the sketch | 0:13:36 | 0:13:38 | |
to the other side of the stage and you'd suddenly notice | 0:13:38 | 0:13:41 | |
he was actually stood on the other side, so, | 0:13:41 | 0:13:43 | |
-I mean... -There was one dreadful moment, | 0:13:43 | 0:13:45 | |
I don't know if Jonathan has ever forgiven me, | 0:13:45 | 0:13:48 | |
but his first baby was born in America while we were on tour. | 0:13:48 | 0:13:53 | |
Jonathan and Alan were doing a sketch about philosophy, | 0:13:54 | 0:13:59 | |
two philosophy people, | 0:13:59 | 0:14:01 | |
and in the middle of it, I came on with Jonathan's newborn baby. | 0:14:01 | 0:14:06 | |
And I said, "Excuse me, sir. | 0:14:06 | 0:14:10 | |
"The wife has... | 0:14:10 | 0:14:12 | |
"The wife has just delivered this. | 0:14:12 | 0:14:14 | |
"What should I do with it?" | 0:14:16 | 0:14:18 | |
And as far as I remember, he said, | 0:14:19 | 0:14:21 | |
"Just put it in the fridge, would you?" | 0:14:21 | 0:14:24 | |
Whenever Pete and Dud appeared on a chat show, | 0:14:25 | 0:14:28 | |
there was little you could predict apart from laughter. | 0:14:28 | 0:14:32 | |
Here's a typical appearance, again from a Parkinson show. | 0:14:32 | 0:14:35 | |
This time, they found themselves | 0:14:35 | 0:14:37 | |
sitting alongside the boxer John Conteh, | 0:14:37 | 0:14:40 | |
and the conversation kicks off | 0:14:40 | 0:14:41 | |
with a question about Dudley's croaky voice. | 0:14:41 | 0:14:44 | |
Oh, my voice? Yes, I sound a bit like Aldo Ray at the moment. | 0:14:46 | 0:14:51 | |
But I caught the flu in New York, or was it flu? | 0:14:51 | 0:14:54 | |
And my voice has gone all peculiar. | 0:14:56 | 0:14:59 | |
There's not much left of you otherwise. | 0:14:59 | 0:15:02 | |
No, I shouldn't have said that, Dud. | 0:15:02 | 0:15:05 | |
I take that back. | 0:15:05 | 0:15:06 | |
No. He's in terrific shape, isn't he? | 0:15:06 | 0:15:08 | |
Yes, he is. Which part of him is in terrific shape? | 0:15:09 | 0:15:12 | |
-Michael, you're being provocative. -No, I'm not. -Don't be cruel. | 0:15:12 | 0:15:15 | |
Not with you two. I mean, you outnumber me, I think. | 0:15:15 | 0:15:19 | |
Let me ask you, were you bullied at school? | 0:15:19 | 0:15:22 | |
Yes, I was, Michael. It was a very sore point with me. | 0:15:23 | 0:15:25 | |
I must go to the doctor. | 0:15:25 | 0:15:27 | |
I... | 0:15:28 | 0:15:30 | |
LAUGHTER | 0:15:30 | 0:15:32 | |
I don't think it was the actual business of being small | 0:15:32 | 0:15:35 | |
that meant I got bullied, although it helped. | 0:15:35 | 0:15:37 | |
But there was a bloke called JW Smith, and I remember getting... | 0:15:37 | 0:15:40 | |
The only time I put boxing gloves on was with JW Smith | 0:15:40 | 0:15:43 | |
and if he were alive... | 0:15:43 | 0:15:44 | |
I won't hit you. | 0:15:44 | 0:15:46 | |
And he punched me severely. | 0:15:46 | 0:15:49 | |
I thought I was going to beat the living daylights out of him. | 0:15:49 | 0:15:52 | |
No, I... I was just set up as one of the bullied people, | 0:15:54 | 0:15:58 | |
and it was very uncomfortable, really. | 0:15:58 | 0:16:01 | |
But I think it's a traditional route for most comedians to go is to... | 0:16:01 | 0:16:05 | |
Were you bullied? | 0:16:05 | 0:16:07 | |
Yes, I was bullied very severely. | 0:16:07 | 0:16:09 | |
I was given up for dead. | 0:16:09 | 0:16:10 | |
LAUGHTER | 0:16:10 | 0:16:12 | |
They brought all the specialists in and... | 0:16:14 | 0:16:16 | |
..I was buried, in fact. | 0:16:18 | 0:16:20 | |
I suffered very, very, very badly at school, Michael, | 0:16:21 | 0:16:25 | |
and I'm sorry you brought it up cos... | 0:16:25 | 0:16:27 | |
-I'm sorry. -He's going a bit over the top as usual. | 0:16:27 | 0:16:29 | |
It was not a happy time during my life. | 0:16:29 | 0:16:31 | |
-Not a happy time at all. -It wasn't? | 0:16:31 | 0:16:33 | |
No, I was undisputed light heavyweight coward of... | 0:16:33 | 0:16:38 | |
There was no contest at all. | 0:16:38 | 0:16:40 | |
I wasn't beaten up much, though. | 0:16:40 | 0:16:42 | |
Did you have various ways of avoiding being bullied? | 0:16:42 | 0:16:44 | |
I mean, did you cringe? Were you obsequious? | 0:16:44 | 0:16:47 | |
-Hiding in drawers. -Hiding in drawers? | 0:16:47 | 0:16:48 | |
-He still does that. -Hopefully... | 0:16:48 | 0:16:50 | |
LAUGHTER | 0:16:50 | 0:16:52 | |
-Yes. -Yeah, well, I remember at the age of 13... | 0:16:53 | 0:16:56 | |
-Coughing. -Coughing is good, | 0:16:56 | 0:16:57 | |
cos people keep away cos they see all this stuff | 0:16:57 | 0:17:00 | |
coming out of your gob. | 0:17:00 | 0:17:02 | |
And of course they stay away, don't they? | 0:17:02 | 0:17:04 | |
Well, there are of course some perverts who love... | 0:17:05 | 0:17:08 | |
They say, "Cough all over me, will you?" | 0:17:09 | 0:17:11 | |
I've met a few of those. | 0:17:12 | 0:17:15 | |
No, seriously, Michael, after all, this is a serious programme... | 0:17:15 | 0:17:18 | |
AUDIENCE MEMBER BLOWS NOSE | 0:17:18 | 0:17:19 | |
Someone was blowing their nose in the audience very loudly. | 0:17:19 | 0:17:24 | |
I started fooling around in class. | 0:17:24 | 0:17:26 | |
That seemed to be the only way to stop it, you know. | 0:17:26 | 0:17:28 | |
Sort of neutralise yourself | 0:17:28 | 0:17:30 | |
and become a plaything of the other people. | 0:17:30 | 0:17:33 | |
And then they don't feel threatened by you. | 0:17:33 | 0:17:35 | |
It's a constant frustration, not to be able to go up to someone and say, | 0:17:35 | 0:17:39 | |
"Listen, any trouble... | 0:17:39 | 0:17:40 | |
"..I'll tear your nose off." | 0:17:42 | 0:17:44 | |
Is that a fantasy of yours? | 0:17:45 | 0:17:47 | |
Oh, I have terrible fantasies of my worst enemies. I still, you know, | 0:17:47 | 0:17:50 | |
like impaling them on railings and reaching down into their mouths | 0:17:50 | 0:17:54 | |
and pulling out their spleens and... | 0:17:54 | 0:17:57 | |
And tying it round the neck and then... | 0:17:57 | 0:17:59 | |
..and pulling out the eyes perhaps one by one. | 0:18:01 | 0:18:05 | |
I have super times thinking about all that sort of thing. | 0:18:05 | 0:18:08 | |
Would you have similar fantasies? | 0:18:10 | 0:18:12 | |
No, I love everybody. | 0:18:12 | 0:18:13 | |
The world is my kingdom and the world loves me and I love the world. | 0:18:15 | 0:18:18 | |
I don't have an enemy in the world. | 0:18:19 | 0:18:21 | |
-You have an enema now and again, though, don't you? -Yes. | 0:18:21 | 0:18:24 | |
I have to have that cos of... | 0:18:24 | 0:18:26 | |
He's his own worst enemy, you know. | 0:18:26 | 0:18:28 | |
No, take into account the war service that I did. | 0:18:28 | 0:18:31 | |
Oh, I do. I take that into account. | 0:18:31 | 0:18:33 | |
Yes, cos during those troubled times, and let's face it, | 0:18:33 | 0:18:37 | |
-they were troubled times. -Oh, troubled, weren't they? | 0:18:37 | 0:18:39 | |
When the war was on, weren't they troubled times? | 0:18:39 | 0:18:41 | |
When we looked like losing. | 0:18:41 | 0:18:43 | |
Oh, I thought we'd had it. | 0:18:43 | 0:18:44 | |
-I thought we'd had it. -When that buzz bomb came across Burnside Road, | 0:18:44 | 0:18:48 | |
-I thought, "This is it." -It was. | 0:18:48 | 0:18:50 | |
I thought, "This is it." | 0:18:50 | 0:18:52 | |
And it was. | 0:18:52 | 0:18:53 | |
Beyond television, Cook and Moore also ventured | 0:18:57 | 0:19:01 | |
into the world of cinema. | 0:19:01 | 0:19:02 | |
The '60s saw them starring in Bedazzled, | 0:19:02 | 0:19:05 | |
and in the '70s, they delivered their own take | 0:19:05 | 0:19:08 | |
on the world of Sherlock Holmes with the Hound Of The Baskervilles. | 0:19:08 | 0:19:12 | |
Here they are interviewed on location for the programme Film 78. | 0:19:12 | 0:19:18 | |
This version of Sherlock Holmes, as portrayed by me, | 0:19:18 | 0:19:21 | |
guided by the spirit voice of Sir Arthur Conan Doyle, | 0:19:21 | 0:19:24 | |
God rest his soul, | 0:19:24 | 0:19:26 | |
is sort of more authentic than the previous very good versions | 0:19:26 | 0:19:29 | |
done by Basil Rathbone, for example. | 0:19:29 | 0:19:32 | |
Basil Rathbone was very good, and... | 0:19:32 | 0:19:34 | |
Not very good, he was excellent, | 0:19:36 | 0:19:38 | |
but he wasn't true to the spirit of Conan Doyle. | 0:19:38 | 0:19:40 | |
I hope this is true to the spirit of Conan Doyle. | 0:19:40 | 0:19:44 | |
I couldn't play Watson, of course, like Nigel Bruce. | 0:19:44 | 0:19:47 | |
-Not as good. -Not as good. | 0:19:47 | 0:19:48 | |
He's got the corner on that, you see. | 0:19:48 | 0:19:50 | |
So, I thought I'd have to... | 0:19:50 | 0:19:52 | |
Play it like Bruce Nigel. | 0:19:52 | 0:19:54 | |
-Right. -Who has not been heard of much, you know. | 0:19:54 | 0:19:56 | |
He's much younger, and... | 0:19:56 | 0:19:58 | |
So I play him a little differently. | 0:19:59 | 0:20:01 | |
Are you there, Mr Taramasalata? | 0:20:01 | 0:20:03 | |
Give one knock for yes, two knocks for no. | 0:20:04 | 0:20:08 | |
TWO KNOCKS | 0:20:08 | 0:20:10 | |
'Dudley is at present made up as my mother.' | 0:20:10 | 0:20:14 | |
'Yes. She's into spiritualism, she's a psychic.' | 0:20:14 | 0:20:16 | |
She's a sidekick, actually. | 0:20:16 | 0:20:18 | |
Yes! She has a great many views on what should be done in the story. | 0:20:18 | 0:20:24 | |
Oh, spirits, show us you are amongst us. | 0:20:24 | 0:20:27 | |
Raise up, O table. | 0:20:28 | 0:20:31 | |
They're really here! | 0:20:31 | 0:20:33 | |
Raise up, O table, make your presence felt! | 0:20:33 | 0:20:35 | |
Raise up, O table! | 0:20:35 | 0:20:37 | |
Oh. | 0:20:38 | 0:20:39 | |
'Dudley symbolises the Victorian period as Mrs Holmes.' | 0:20:39 | 0:20:42 | |
Oh, yes, I think this is the... | 0:20:42 | 0:20:44 | |
People will walk out of the cinema saying, | 0:20:44 | 0:20:45 | |
"That was a Victorian period if ever I saw one." | 0:20:45 | 0:20:48 | |
It's the definitive Victorian film. | 0:20:48 | 0:20:50 | |
Yes. Holmes in this movie does have the natural urges of any male. | 0:20:50 | 0:20:56 | |
And... Thank you, darling. | 0:20:57 | 0:20:59 | |
And he does visit a Victorian equivalent | 0:20:59 | 0:21:02 | |
of the modern massage parlour. | 0:21:02 | 0:21:04 | |
Yes. | 0:21:04 | 0:21:06 | |
-Apart from that... -Apart from that, well... | 0:21:06 | 0:21:08 | |
..we haven't departed from the original story. | 0:21:08 | 0:21:10 | |
I think there's always going to be an interest in the characters. | 0:21:10 | 0:21:14 | |
They're sort of, you know, really like Hamlet and Cressida, | 0:21:14 | 0:21:16 | |
aren't they? | 0:21:16 | 0:21:18 | |
And Coriolanus and Des O'Connor. | 0:21:18 | 0:21:22 | |
I'd hate to think that this movie was made with the sole purpose of | 0:21:22 | 0:21:27 | |
getting millions and millions of people to see it | 0:21:27 | 0:21:30 | |
and stick money down and go to the cinemas. | 0:21:30 | 0:21:31 | |
Oh, that would be dreadful, wouldn't it? | 0:21:31 | 0:21:33 | |
Awful. It would be dreadful if we ended up being millionaires | 0:21:33 | 0:21:36 | |
-and having to join Michael Caine. -Yeah, it'd be dreadful, wouldn't it? | 0:21:36 | 0:21:39 | |
I'd rather be in a garret than stuck with Michael Caine | 0:21:39 | 0:21:42 | |
in Hollywood, the Hollywood crowd. | 0:21:42 | 0:21:44 | |
-Right! -Riffraff! | 0:21:44 | 0:21:46 | |
Bloody Ian La Frenais, Dick Clement | 0:21:46 | 0:21:48 | |
playing cricket on their swimming pools. | 0:21:48 | 0:21:50 | |
-Playing football with Raquel Welch. -Pathetic. | 0:21:50 | 0:21:54 | |
I'd rather be in a khazi in Dagenham... | 0:21:54 | 0:21:56 | |
-Right. -..than sell my soul to some producer... | 0:21:56 | 0:22:00 | |
-Right. -..who says, "Here's £15 million." | 0:22:00 | 0:22:03 | |
You know, you know what my straight answer to him would be. | 0:22:03 | 0:22:06 | |
-Yes. -That's exactly it, yes. | 0:22:06 | 0:22:08 | |
In the end, the film didn't set Hollywood alight, | 0:22:12 | 0:22:15 | |
but a few years later, | 0:22:15 | 0:22:17 | |
Dudley would with roles in films like 10 and Arthur. | 0:22:17 | 0:22:21 | |
But despite solo international stardom, | 0:22:21 | 0:22:23 | |
the relationship with Peter remained intact. | 0:22:23 | 0:22:27 | |
Here are the pair of them in 1990 on the Wogan show, | 0:22:27 | 0:22:32 | |
talking about one of their classic Pete and Dud sketches. | 0:22:32 | 0:22:35 | |
My favourite sketch, and I think maybe Peter's, | 0:22:37 | 0:22:39 | |
is one that we did when we were Dud and Pete, | 0:22:39 | 0:22:43 | |
these two Cockney characters in an art gallery. | 0:22:43 | 0:22:46 | |
-And we were... -Talking about this, that and the other. | 0:22:46 | 0:22:48 | |
Talking about this, that and the other, | 0:22:48 | 0:22:51 | |
which we mainly did most weeks. | 0:22:51 | 0:22:52 | |
And I just, I loved the feeling of that one, the intimacy, | 0:22:52 | 0:22:58 | |
which we've never been able to achieve | 0:22:58 | 0:23:00 | |
in our real lives, of course. | 0:23:00 | 0:23:01 | |
LAUGHTER | 0:23:01 | 0:23:03 | |
-And... -No, don't laugh. | 0:23:03 | 0:23:06 | |
-Are you all right, Terry? -Don't laugh when you say that, | 0:23:06 | 0:23:08 | |
because it's sad, isn't it? | 0:23:08 | 0:23:11 | |
The only time Dudley and I have ever met has been on television. | 0:23:11 | 0:23:14 | |
I... I've never seen him... | 0:23:15 | 0:23:18 | |
-He looks very nice. -No, he looks all right, yeah. | 0:23:18 | 0:23:20 | |
Wait a minute, I was going to cue in a piece of what we call VT. | 0:23:20 | 0:23:24 | |
-Oh, well. -I'm sorry. -Well, you know... | 0:23:24 | 0:23:27 | |
You know, Pete, I reckon... | 0:23:27 | 0:23:29 | |
I reckon there's a lot of rubbish in this gallery, you know. | 0:23:29 | 0:23:32 | |
-In here? -Yeah. -Oh, not only rubbish, Dud, there's a lot of muck about. | 0:23:32 | 0:23:35 | |
I've been looking all over the place for something good. | 0:23:35 | 0:23:38 | |
-Yeah. -I've been looking for that lovely green gypsy lady, | 0:23:38 | 0:23:40 | |
you know the one what Curpsy Corey done | 0:23:40 | 0:23:42 | |
with the lovely shining skin? | 0:23:42 | 0:23:44 | |
-Where is she? Nowhere. -Nowhere. | 0:23:44 | 0:23:46 | |
So I went up to the manager. | 0:23:46 | 0:23:48 | |
I said, I got him by the collar, I said, "Here..." | 0:23:48 | 0:23:51 | |
-Yeah? -I said, "Here..." | 0:23:51 | 0:23:52 | |
Threatening him? You didn't spit sandwich at him, did you? | 0:23:52 | 0:23:55 | |
-Sorry, Pete. -Blimey. | 0:23:57 | 0:23:59 | |
Sorry about that. No, I said, "Here..." | 0:23:59 | 0:24:01 | |
Yeah, you'll do it again if you're not careful. | 0:24:01 | 0:24:03 | |
-I said, "Where...?" -HE GUFFAWS | 0:24:05 | 0:24:07 | |
Come on, what'd you say, Dud? | 0:24:10 | 0:24:13 | |
I said, "Where's that bloody Chinese flying horse, then?" | 0:24:13 | 0:24:17 | |
-What'd he say? -He said, "Get out." | 0:24:17 | 0:24:20 | |
Very nice. | 0:24:20 | 0:24:22 | |
APPLAUSE | 0:24:22 | 0:24:23 | |
Like a sandwich? | 0:24:29 | 0:24:30 | |
You met 20... Well, it's hundreds of years ago... | 0:24:30 | 0:24:33 | |
Right, it was hundreds of years. | 0:24:33 | 0:24:35 | |
500-600 years ago. | 0:24:35 | 0:24:36 | |
Young undergrads. | 0:24:36 | 0:24:39 | |
-Oh, yes. -Did you hit it off immediately? | 0:24:39 | 0:24:41 | |
Well, we weren't undergrads. | 0:24:41 | 0:24:43 | |
Well, we were, were we? I don't... | 0:24:43 | 0:24:44 | |
I was in my last year at Oxford. | 0:24:44 | 0:24:46 | |
We met rather uneasily in a restaurant. | 0:24:46 | 0:24:49 | |
We all looked at each other. This was Beyond The Fringe. | 0:24:49 | 0:24:51 | |
So, Alan Bennett, you and him and Jonathan... | 0:24:51 | 0:24:53 | |
Jonathan Miller and Dudley. | 0:24:53 | 0:24:55 | |
We all sat down and peered at each other | 0:24:55 | 0:24:57 | |
and didn't really know what to do. | 0:24:57 | 0:24:59 | |
Yeah. Did you like the cut of his jib then? | 0:24:59 | 0:25:02 | |
Were you attracted to him? | 0:25:02 | 0:25:03 | |
-I thought he was a frightfully attractive young man. -Yes. | 0:25:03 | 0:25:06 | |
I was at Cambridge and I thought, "Well, | 0:25:06 | 0:25:09 | |
"this looks somebody who is fairly easy to get on with." | 0:25:09 | 0:25:12 | |
-Yes. -And we went off into the night. | 0:25:12 | 0:25:14 | |
Did you? And I bet you... | 0:25:14 | 0:25:16 | |
-Came back for rehearsal next day. -I bet you took a smack to him as well. | 0:25:16 | 0:25:19 | |
I certainly did. I thought, | 0:25:19 | 0:25:20 | |
"Here's an upper-class geek if ever I saw one." | 0:25:20 | 0:25:22 | |
And... | 0:25:22 | 0:25:24 | |
Straight down from the Foreign Office. | 0:25:24 | 0:25:27 | |
Yes, we got on very well. | 0:25:27 | 0:25:28 | |
I mean, he... Actually, Peter was very easy to get on with and... | 0:25:28 | 0:25:32 | |
..I think, of all of us, he was the most urbane and, sort of, | 0:25:35 | 0:25:37 | |
calm in those days. Of course, things have changed, you know. | 0:25:37 | 0:25:40 | |
-Things have changed greatly. -Whirling dervish now. | 0:25:40 | 0:25:43 | |
Yes. Do you think he's gone to the bad? | 0:25:43 | 0:25:46 | |
Has he gone to the bad? No. No. | 0:25:46 | 0:25:48 | |
No more than anybody else has. | 0:25:48 | 0:25:49 | |
-Yes. -No more than you have, Terry! | 0:25:49 | 0:25:52 | |
Yeah, you don't think... Dudley hasn't improved much either, has he? | 0:25:52 | 0:25:55 | |
I think Dudley has improved. | 0:25:55 | 0:25:56 | |
-Has he improved? -Oh, yes. | 0:25:56 | 0:25:58 | |
You should have seen him 25 years ago! | 0:25:58 | 0:26:01 | |
The years have been kind to him, haven't they? | 0:26:01 | 0:26:04 | |
Certainly. He looks better by the second. | 0:26:04 | 0:26:06 | |
-Considering the life he's led. -Hmm. | 0:26:06 | 0:26:08 | |
Yeah, it's been a bit outre. | 0:26:08 | 0:26:10 | |
It's been a bit, you know... | 0:26:10 | 0:26:12 | |
But I've survived. | 0:26:13 | 0:26:16 | |
Yes. I took the blows. | 0:26:16 | 0:26:18 | |
-I... -You gave the shows! | 0:26:18 | 0:26:20 | |
I did it my way. | 0:26:22 | 0:26:23 | |
Hello, sailor. | 0:26:23 | 0:26:24 | |
We'll end now in the same way that Peter and Dudley ended their shows - | 0:26:28 | 0:26:33 | |
at the piano, in perfect harmony, | 0:26:33 | 0:26:35 | |
singing their always aptly titled song Goodbye. | 0:26:35 | 0:26:40 | |
APPLAUSE | 0:26:40 | 0:26:42 | |
-# Now it's time to say goodbye -Goodbye! | 0:26:44 | 0:26:48 | |
-# Now's the time to yield a sigh -Oh, yield that sigh, baby | 0:26:50 | 0:26:54 | |
# Now's the time to we-e-end... # | 0:26:57 | 0:27:00 | |
HE COUGHS | 0:27:00 | 0:27:01 | |
# Our way-ee! | 0:27:01 | 0:27:03 | |
# Until we met again! # | 0:27:03 | 0:27:06 | |
It's not going well. | 0:27:06 | 0:27:07 | |
# Some sunny day... # It's going wonderfully. | 0:27:07 | 0:27:10 | |
BOTH: # Goodbye, goodbye | 0:27:13 | 0:27:15 | |
# We're leaving you, scoob-a-dye | 0:27:15 | 0:27:17 | |
# Goodbye, we wish you fond goodbye | 0:27:17 | 0:27:19 | |
# Farta-ta-ta, farta-ta-ta | 0:27:19 | 0:27:21 | |
# Goodbye, goodbye | 0:27:21 | 0:27:22 | |
# We're leaving you, scoob-a-dye | 0:27:22 | 0:27:24 | |
# Goodbye, we wish you fond goodbye | 0:27:24 | 0:27:27 | |
# Farta-ta-ta-ta | 0:27:27 | 0:27:28 | |
# La-la-la-la-la-la... # | 0:27:28 | 0:27:31 | |
THEY COUGH AND SPLUTTER | 0:27:31 | 0:27:35 | |
LOUD COUGHING CONTINUES | 0:27:38 | 0:27:41 | |
-You feeling all right, mother? -Fine, thank you. | 0:27:46 | 0:27:48 | |
I'm feeling terribly well indeed. | 0:27:48 | 0:27:50 | |
# Ebony, a-dib-dab-dooby, biddidy-bash | 0:27:50 | 0:27:53 | |
# A-deeb-dab-dooby, doodily-down... # | 0:27:53 | 0:27:55 | |
MUSIC FADES OUT | 0:27:55 | 0:27:58 | |
I don't know what you're thinking then! | 0:27:58 | 0:28:00 |