0:00:15 > 0:00:18# Bring me sunshine
0:00:18 > 0:00:21# In your smile
0:00:21 > 0:00:25# Bring me laughter
0:00:25 > 0:00:27# All the while, bring me fun
0:00:27 > 0:00:29# Bring me sunshine
0:00:29 > 0:00:31# Bring me love, sweet love
0:00:31 > 0:00:35# Bring me fun, bring me sunshine
0:00:35 > 0:00:38# Bring me love! #
0:00:38 > 0:00:41CHEERING AND APPLAUSE
0:00:47 > 0:00:51Thank you, thank you very much. Thank you.
0:00:51 > 0:00:55Good evening, ladies and gentlemen. Have we got a show for you tonight?
0:00:55 > 0:00:58Have we got a show for them tonight? Yes, we have. Fantastic.
0:00:58 > 0:01:01Morecambe and Wise were at their peak 30 years ago
0:01:01 > 0:01:04and the best of their comedy is as funny now as it was then.
0:01:04 > 0:01:07Tonight we'll be looking at some of their best remembered moments
0:01:07 > 0:01:13as well as more obscure pieces that nevertheless deserve to be recognised as the classics they are.
0:01:13 > 0:01:15Take a look at this.
0:01:15 > 0:01:17- I've got to tell you.- What?
0:01:17 > 0:01:20- There's been a mistake.- Where? - Have you got my pants on?
0:01:20 > 0:01:24- I've got your trousers on. - Well what are you doing wearing my trousers?!
0:01:24 > 0:01:28It was nothing to do with me! We had a quick change, you were too quick!
0:01:28 > 0:01:30- Let's go off and get changed. - Come here.
0:01:33 > 0:01:35I wish you wouldn't do this. It's murder.
0:01:35 > 0:01:37- We haven't got time for that! - Why not?
0:01:37 > 0:01:39We've got to do the show in two minutes.
0:01:39 > 0:01:42- Get them off now and change. Come on. - You can't take 'em off.
0:01:42 > 0:01:47- Go on. I'm suffering as it is. - Well, you can't take 'em off in front of the ladies and gentlemen.
0:01:47 > 0:01:50What are we going to do? We've got the wrong...
0:01:52 > 0:01:54- I've got it.- What? - I've figured it out.
0:01:54 > 0:01:56You stay here and leave everything to me.
0:01:56 > 0:01:58- Do as you're told.- All right.
0:01:58 > 0:02:00Ladies and gentlemen, as you know...
0:02:00 > 0:02:03- Are you doing it now?- Yeah, I'm telling 'em.- I can't hear a word.
0:02:03 > 0:02:05...this is a special production...
0:02:07 > 0:02:12- What's going on back there?! - More than what's going on in front, I'll tell you that!
0:02:12 > 0:02:14- Charming.- You ready? - Yes. The things you say.
0:02:14 > 0:02:16- Look at that.- What?- See?
0:02:16 > 0:02:18- What?- Right, see that?- Yes.
0:02:20 > 0:02:22- Now as far as they're concerned... - Yeah.
0:02:22 > 0:02:25They think that I'm wearing a full suit.
0:02:25 > 0:02:27- But I'm not.- You're not? - Because I've got that.
0:02:27 > 0:02:30That?
0:02:30 > 0:02:31- That, a spare leg.- A spare leg?
0:02:31 > 0:02:33- Now, what I want you to do...- Yes.
0:02:33 > 0:02:36- If you will...- Yeah. - Is whip a spare leg into there.
0:02:41 > 0:02:45- I haven't got a spare leg!- Well, don't just stand there, find one!
0:02:45 > 0:02:49- Find one?- Yes.- All right, wait a minute.- I'm sorry about this.
0:02:50 > 0:02:53Won't take very long. Are you ready?
0:02:53 > 0:02:58- Yes.- Now what he's going to do, I hope, is he's going to whip a spare leg into there.
0:03:00 > 0:03:02Put his spare leg into there, that's what he's done.
0:03:02 > 0:03:04- Henry.- Yes?- Is that it?
0:03:04 > 0:03:06Right.
0:03:08 > 0:03:10He's missed it, look.
0:03:15 > 0:03:17- Are we in?- Yes.- Now.
0:03:22 > 0:03:25- Look at me when I'm so close. Now. - What?
0:03:25 > 0:03:29You should now have another spare leg.
0:03:29 > 0:03:31Another spare leg for me.
0:03:31 > 0:03:33- I've got one there. - Have you got one?- Yes.
0:03:33 > 0:03:35Well, drop it on the floor. There's a good lad.
0:03:35 > 0:03:37- Are you ready?- Yes.
0:03:40 > 0:03:43- There we are.- Yes.- Now then.
0:03:43 > 0:03:47Take it all easy, nice and casual, relaxed, you see what I mean.
0:03:47 > 0:03:49Now, you turn round.
0:03:51 > 0:03:55It doesn't matter which way we turn, we've got our own suits on.
0:03:55 > 0:03:58- Right.- So we can start the show now and walk off very slowly.
0:03:58 > 0:04:01- Why?- It brings the tears to my eyes.
0:04:01 > 0:04:05LAUGHTER AND APPLAUSE
0:04:05 > 0:04:08That was Eric and Ernie in 1970 and it demonstrates
0:04:08 > 0:04:12their remarkable physical timing and just how well they worked together.
0:04:12 > 0:04:17That understanding can only be developed by years of performing in front of a live audience.
0:04:17 > 0:04:20That was partly the secret of their success. They started very young.
0:04:20 > 0:04:24They were both child performers, Ernie toured the clubs of Leeds with
0:04:24 > 0:04:28his dad when he was just seven years old. Here he is as Charlie Chaplin.
0:04:28 > 0:04:34And here is a caricature of Eric Bartholomew, which was Eric Morecambe's real name.
0:04:34 > 0:04:37When the boys were 12 years old, they formed a double act.
0:04:37 > 0:04:41Soon there were separated by World War Two but a chance meeting reunited them.
0:04:41 > 0:04:45We weren't working together and I joined the circus as a straight man
0:04:45 > 0:04:49to a comedian, who I didn't know and when I got there it was Ernie.
0:04:49 > 0:04:51I was a straight man to Ernie.
0:04:51 > 0:04:55Throughout the 1950s, they built their reputation as a live act.
0:04:55 > 0:04:58Although they made a disappointing television series in 1954 called
0:04:58 > 0:05:02Running Wild, they never stopped working as a live variety act.
0:05:02 > 0:05:04They were never shy about their influences.
0:05:04 > 0:05:08Did you ever consciously base the act on any other act?
0:05:08 > 0:05:12Abbott and Costello was our original.
0:05:12 > 0:05:17I've got records at home of Ernie and I, of early broadcasts, where we were, "I'm a bad boy, ooh."
0:05:17 > 0:05:19- You're the manager?- Yes.
0:05:19 > 0:05:21- You know their names? - I'm telling you their names.
0:05:21 > 0:05:25- And who's out first?- Yes.- When?- Who. - The guy out first.- Who.- First.- Who.
0:05:25 > 0:05:27- The guy on first.- Who is on first.
0:05:27 > 0:05:31- What are you asking me for? I'm asking you!- I'm telling you.
0:05:31 > 0:05:33You ain't! I'm asking you who's on first!
0:05:33 > 0:05:37- That's it.- Tell me.- Who.- First base. - That's his name.- Whose name?
0:05:37 > 0:05:40- Yes.- Tell me!- That's the man's name. - Whose name?
0:05:40 > 0:05:41- Yeah.- Well then, tell me!
0:05:41 > 0:05:44- Who is on first. - Why are you asking me?!
0:05:44 > 0:05:47Other influences were much closer to home.
0:05:47 > 0:05:51Here's veteran comedian Sandy Powell in the 1970s.
0:05:51 > 0:05:55Every man to his own trade. I'm talking to my little friend.
0:05:55 > 0:05:59Now tell me, sonny, was your father a soldier?
0:05:59 > 0:06:03Oh no, he was a... MUMBLES
0:06:04 > 0:06:07Yes, I don't eat meat either.
0:06:07 > 0:06:10And when he joined the Army...
0:06:10 > 0:06:12I'd said, I don't eat meat either.
0:06:12 > 0:06:16- Meat?- No.- We're not talking about meat, we're talking about his father!
0:06:16 > 0:06:20I know, well, he said his father was a vegetarian.
0:06:20 > 0:06:22No, no, what he said...
0:06:23 > 0:06:25Here is Eric and Ernie's version.
0:06:25 > 0:06:28And what are you going to do for us tonight, Charlie?
0:06:28 > 0:06:31Well, first of all I thought I'd tell you a few jokes.
0:06:32 > 0:06:37- Take all my clothes off and show you my bare...- Just a moment, just a moment, just a moment.
0:06:37 > 0:06:39I can see your lips moving.
0:06:43 > 0:06:45Eh?
0:06:45 > 0:06:48I said, I can see your lips moving.
0:06:50 > 0:06:53Well, of course you can, you fool!
0:06:53 > 0:06:56Because it's me who's doing it for him.
0:06:56 > 0:06:59He can't do it on his own, he's wood!
0:06:59 > 0:07:01That's my hand there, you know!
0:07:03 > 0:07:06I'm working with an amateur!
0:07:06 > 0:07:07You're not, er...
0:07:10 > 0:07:12God, that's murder.
0:07:12 > 0:07:14You're not supposed to move your lips.
0:07:14 > 0:07:18Ventriloquists don't move their lips. I mean, that's the whole idea.
0:07:18 > 0:07:20When the dummy talks, you keep your mouth shut.
0:07:27 > 0:07:30Hello, Charlie. How are you?
0:07:30 > 0:07:33SILENCE
0:07:37 > 0:07:42Tonight, we have a glittering parade of guest stars direct from stage, screen and Job Centre.
0:07:42 > 0:07:47To discuss with me the finer points of Morecambe and Wise's oeuvre... Can I say that, oeuvre?
0:07:47 > 0:07:51They're looking it up, ladies and gentlemen, a very warm welcome to Mr Eddie Izzard.
0:07:51 > 0:07:53APPLAUSE AND CHEERING
0:08:09 > 0:08:12- Eddie, you're a big fan of Morecambe and Wise, hopefully.- Yeah.
0:08:12 > 0:08:18Yes, good. Now, you're known... I don't want put you in a box, but you're known as a surrealist comic.
0:08:18 > 0:08:21- Yeah.- Do you mind being called a surrealist?- I think it's great.
0:08:21 > 0:08:23I think that's, I mean, we share...
0:08:23 > 0:08:26You did everything on your show that I would have hoped to have done.
0:08:26 > 0:08:32So just going off on wild flights of fancy, fantasies, is very influenced by Python.
0:08:32 > 0:08:35I always thought Eric Morecambe was doing stuff that was just out of
0:08:35 > 0:08:40the box and in stand up terms, he was just going in different directions.
0:08:40 > 0:08:41It's beautiful.
0:08:41 > 0:08:47To carry on the ventriloquist theme from the clip, here's a bit of Eric and Ernie being quite surreal.
0:08:47 > 0:08:51We did a thing about a year, 18 months ago,
0:08:51 > 0:08:56a thing called Oggy. We had the enormous dummy, a 12-foot dummy.
0:08:56 > 0:08:59I was this ventriloquist with a 12-foot dummy.
0:08:59 > 0:09:00I think we went through that once.
0:09:00 > 0:09:04Yes. When you get a piece like that, it's got to play with the audience.
0:09:04 > 0:09:07You depend on what your audience give you for a thing like that.
0:09:07 > 0:09:10- What do you call him? - Pardon?- Call him?- Oggy.
0:09:10 > 0:09:14- Oh...- Oggy, and he's solid oak. - Solid oak?- Yeah, I made him myself.
0:09:14 > 0:09:18- You know that big clearing...- Yeah. - In Epping Forest...- Mm.- It's him.- No!
0:09:18 > 0:09:22- 600 squirrels without homes now.- No!
0:09:22 > 0:09:25- And his pockets are full of nuts.- No!
0:09:25 > 0:09:27- Can you work it?- Pardon?
0:09:28 > 0:09:30- I said, can you work it? - How do you mean?
0:09:30 > 0:09:32- How do you mean?- Make it talk!
0:09:32 > 0:09:35- I've never tried because when he's up straight you see...- Yeah.
0:09:35 > 0:09:38- Yeah.- ..I can't get my hand up his thing.
0:09:38 > 0:09:43- You know, the thing that you've got to pull to make his mouth work. - The strings at the back?
0:09:43 > 0:09:45That's a bit of a strain for me, you see. Yeah.
0:09:45 > 0:09:49- Well, you'll have to do something about it.- What can I do?- Sit on that chair.
0:09:49 > 0:09:54- Lovely.- Let him lean on me. That's it, that's fine. OK.
0:09:54 > 0:09:55Get your hand around the back.
0:09:55 > 0:10:00- Wait a minute, he's getting a bit heavy for me!- Easy, easy.
0:10:10 > 0:10:12He's lost his bottom jaw!
0:10:15 > 0:10:18APPLAUSE
0:10:18 > 0:10:21So, although they were very meticulous about rehearsing,
0:10:21 > 0:10:25in scenes like that there's a lot that you can't rehearse because of the dummy.
0:10:25 > 0:10:30but when I asked you about the way that you work on stage, because you ad-lib a lot?
0:10:30 > 0:10:32- Yes.- What's your working method?
0:10:32 > 0:10:36Working method for an individual - it's interesting because they're a double act
0:10:36 > 0:10:41and I was a double act beforehand and my individual method for improvising,
0:10:41 > 0:10:44is keep the gate open and you talk and then you just keep talking -
0:10:44 > 0:10:49slightly different to group improvising, where you have to talk and then shut up.
0:10:49 > 0:10:53In the double act it's very interesting - they're doing physical situation comedy,
0:10:53 > 0:10:57cos I was a street performer and notice that bit
0:10:57 > 0:10:59where he says to Eric, "Can you get it working?"
0:10:59 > 0:11:02And he goes, "You what?" "Can you get it working?"
0:11:02 > 0:11:06He's just looking for angles where he can get double entendres,
0:11:06 > 0:11:08something he can play, go off at a different angle.
0:11:08 > 0:11:12He finds that more fun, you can see, he thumps him, or he...
0:11:12 > 0:11:16It's just beautiful and we as an audience are watching Eric,
0:11:16 > 0:11:21just waiting to see what can you find. We want him to find stuff.
0:11:21 > 0:11:26Yes, repeating the line - when he's not sure whether the audience heard it the first time, he says,
0:11:26 > 0:11:30"What was that?" so you say it again to make sure the laugh is there.
0:11:30 > 0:11:35- Yeah, yeah.- The thing about them as well was their training, being on stage from a very early age,
0:11:35 > 0:11:38is that when things went wrong, they just continued.
0:11:38 > 0:11:43They didn't stop cos in theatre, when things go wrong, you can't stop. You have to carry on.
0:11:43 > 0:11:46I haven't seen that interview, the first one you did there.
0:11:46 > 0:11:50They seemed so relaxed together. They really did get on, didn't they?
0:11:50 > 0:11:53Yes, we'll talk about that later on, but yes, the standard interview
0:11:53 > 0:11:58question from the journalist would be at the time, "Do you two get on?"
0:11:58 > 0:12:00and they would say, "We have our own families."
0:12:00 > 0:12:03"Oh, so you're not with each other 24 hours a day?"
0:12:03 > 0:12:06Hoping there would be some sort of rift between them, but there never was.
0:12:06 > 0:12:10Mentioning ad-libbing there, we've got a couple of examples...
0:12:10 > 0:12:14Although they learned the script meticulously, sometimes they'd forget it.
0:12:14 > 0:12:17Let's have a look at them getting out of difficulty.
0:12:17 > 0:12:20- Hey, now listen, I tell you. - No, listen. I tell you what.
0:12:20 > 0:12:23If I promise to do that play properly, that one there,
0:12:23 > 0:12:26no messing about, how does that grab you?
0:12:26 > 0:12:29- This play?- Yeah.- Ha!
0:12:29 > 0:12:31Ha!
0:12:44 > 0:12:46I bet you couldn't do that again!
0:12:47 > 0:12:51Can't you see what would happen if I told the public all about you?
0:12:53 > 0:12:58Hundreds of people would follow you all over the place trying to touch you.
0:12:58 > 0:13:00Would they?
0:13:03 > 0:13:06- You know, we've missed a gem out... - We haven't, have we?!
0:13:06 > 0:13:08It doesn't matter though.
0:13:08 > 0:13:10No...we can do it next year.
0:13:10 > 0:13:13Following me about all over the place, touching me, the people.
0:13:13 > 0:13:17- Touching you all over the place? - I wouldn't say that!
0:13:17 > 0:13:20No, it's not people touching you all over the place...
0:13:20 > 0:13:23- Did I say it wrong?- No, you said it right, got a good laugh.
0:13:23 > 0:13:27- Yeah. Would you like to go off and come on again?- No!
0:13:27 > 0:13:29Nobody can advertise on the BBC.
0:13:29 > 0:13:33Even Lord Hill can't say what kind of pipe tobacco he smokes.
0:13:33 > 0:13:35And no wonder! It's mine!
0:13:35 > 0:13:38He's known along the powers of corridor...
0:13:38 > 0:13:41- ..Corridors of power. - Corridors of power,
0:13:41 > 0:13:45- don't forget he walks backwards. - Yes, he does.- That was quick!
0:13:51 > 0:13:54I think maybe where the paper hat just lands on his head there is
0:13:54 > 0:13:58an extraordinary happy accident you sometimes get in comedy, isn't it?
0:13:58 > 0:14:03It is beautiful and you watch, Ernie looks off stage,
0:14:03 > 0:14:05they're just gonna relax and go with it.
0:14:05 > 0:14:11They know these are golden moments and I think they were the only people doing it,
0:14:11 > 0:14:13everyone else was trying to do a funny show.
0:14:13 > 0:14:18They're actually trying to do a show that's sort of OK and then things just keep breaking up.
0:14:18 > 0:14:22- I think their focus is very much on the live audience that's there. - Yeah.
0:14:22 > 0:14:25You saw it in the ventriloquist sketch, if you noticed it,
0:14:25 > 0:14:27but when the doll's leg goes over the side,
0:14:27 > 0:14:31you actually see that they're actually on a wooden stage, two foot up.
0:14:31 > 0:14:34Cos they said they felt happier walking on a wooden stage.
0:14:34 > 0:14:38One thing I wanted to ask you about, one of their great
0:14:38 > 0:14:42ambitions, which they never really achieved, was they wanted to make it big in America.
0:14:42 > 0:14:46But they never really did that. They played the Ed Sullivan Show
0:14:46 > 0:14:50a lot of times and made good impact on that but they'd fly back home.
0:14:50 > 0:14:54- You've had some degree of success in the States...- A big degree! - A big degree!
0:14:54 > 0:14:56LAUGHTER
0:14:56 > 0:14:58- No...- Sorry, I'm...!
0:14:58 > 0:15:00APPLAUSE
0:15:00 > 0:15:02Research told me it was "some"!
0:15:02 > 0:15:05The interesting thing is, no-one actually knows.
0:15:05 > 0:15:09I could say, "I'm just so major in America..." No-one actually knows.
0:15:09 > 0:15:14- I didn't know Morecambe and Wise had been there and done 18 shows. - You've done very well there.
0:15:14 > 0:15:16What have you done that they didn't do?
0:15:16 > 0:15:19I just went there and stayed there till they gave in!
0:15:19 > 0:15:24This was the trick, I analysed it, I'm very military with my approach...
0:15:24 > 0:15:27..transvestite with a career - you've kind of got to be.
0:15:27 > 0:15:29So I worked out that if you did a TV series, it would fail,
0:15:29 > 0:15:33you could do a film it could fail, the clubs, you could get lost.
0:15:33 > 0:15:36Go to New York and just play a small theatre over and over again
0:15:36 > 0:15:41until the New York Times gave you a big thumbs up and that was the technique I used.
0:15:41 > 0:15:46I did the north face of the Eiger route, which I prefer cos it's real grassroots stuff.
0:15:46 > 0:15:51In one of your films, Ocean's 13, you mention Morecambe and Wise?
0:15:51 > 0:15:53That's actually the writer, Steven Soderbergh.
0:15:53 > 0:15:56That's Steven Soderbergh being a Brit fan.
0:15:56 > 0:15:59There's a number of people who are into our comedy from way back.
0:15:59 > 0:16:01They mention it like...
0:16:01 > 0:16:05What is it? "As big as Morecambe and Wise", some reference to that
0:16:05 > 0:16:08which looks like it's coming from me. It's coming from him.
0:16:08 > 0:16:12Well, Eddie, thank you very much for helping look at some of those clips.
0:16:12 > 0:16:15- Ladies and gentlemen, Eddie Izzard! - APPLAUSE
0:16:21 > 0:16:27One of the many acts that knew Eric and Ernie well during the 1950s was the legendary, Bruce Forsyth.
0:16:27 > 0:16:29I recently had the chance to ask him about those days.
0:16:29 > 0:16:34- Bruce, thank you very much for joining us in this tribute to Eric and Ernie.- My pleasure.
0:16:34 > 0:16:39You knew Morecambe and Wise in the 1950s before they became particularly famous?
0:16:39 > 0:16:42Yes, I worked on the bill with Eric and Ernie several times.
0:16:42 > 0:16:45I always saw their potential.
0:16:45 > 0:16:50They were always one of the acts I would always stand on the side and watch their timing.
0:16:50 > 0:16:54I always admired the way they bounced off one another.
0:16:54 > 0:16:59There was a stardom there, although it was years before they got their big break.
0:16:59 > 0:17:02There seems to be a thought and a feeling as well, that in the 1950s,
0:17:02 > 0:17:06there was still quite a big American influence in what they were doing,
0:17:06 > 0:17:10they were big fans of Abbott and Costello and there was that fast, cross-talk act
0:17:10 > 0:17:14and the pushing - was that something you remember them being like?
0:17:14 > 0:17:20Er, yes and of course the big double act of the time, British double act
0:17:20 > 0:17:23who were quite American in their style, was Jewel and Warriss.
0:17:23 > 0:17:27- Yes, yes.- You know their name? - Yes.- Good, well done.
0:17:27 > 0:17:30- Ben Warriss and Jimmy Jewel. - Yes - do you want to do for the car?
0:17:30 > 0:17:33- Yeah!- You've already won!
0:17:33 > 0:17:38Jewel and Warriss were the biggest double act of the 1950s.
0:17:38 > 0:17:45Funnily enough, in showbusiness in those days, there was only room for one big double act.
0:17:45 > 0:17:51There were never... To be really big in this country, there was only one big double act and Jewel
0:17:51 > 0:17:58and Warriss were the double act for years and years and years until Eric and Ernie came on the scene.
0:17:58 > 0:18:01As television was coming in and developing through the mid-50s,
0:18:01 > 0:18:04was there a feeling that television was the enemy of the variety act?
0:18:04 > 0:18:07Oh yes, oh yeah, you could be...
0:18:07 > 0:18:13I mean, I was advised so much before I got the job at the Palladium that if you
0:18:13 > 0:18:19went on television too much, that you could be finished
0:18:19 > 0:18:23because your stage act would be seen or people would get too used to you.
0:18:23 > 0:18:25They used to call it over-exposed.
0:18:25 > 0:18:30- I've never been over-exposed!- Have you not?- No.- There's still time!
0:18:30 > 0:18:32- I've been accused of it!- Haha!
0:18:32 > 0:18:37I've been accused of it but never actually came to a court case.
0:18:37 > 0:18:42A few years after that, you were headlining at the Palladium and they were a supporting act for you?
0:18:42 > 0:18:45- Mid-60s, '64 something like that? - That's right, yeah.
0:18:45 > 0:18:49It was when I did a show called Every Night At The Palladium
0:18:49 > 0:18:54and I was the full top of the bill and underneath was Eric and Ernie,
0:18:54 > 0:19:02Teddy Johnson and Pearl Carr. And it was during that season that Eric and Ernie,
0:19:02 > 0:19:04their new series started on television.
0:19:04 > 0:19:11They'd get a nice applause when they came on. But when the television series started,
0:19:11 > 0:19:16after two or three weeks, they really got into the people
0:19:16 > 0:19:19and the people had got to love them in that two or three weeks
0:19:19 > 0:19:22and they were looking forward to the rest of their series.
0:19:22 > 0:19:27The applause that they got when they came on was incredible.
0:19:27 > 0:19:33That's when I knew that Eric and Ernie were gonna be big time at last.
0:19:33 > 0:19:37PLAYS PIANO BADLY
0:19:46 > 0:19:50- Ah, now, if you could stand there, yes.- No...
0:19:50 > 0:19:54You're playing all the wrong notes!
0:19:56 > 0:19:59No, I'm playing all the right notes.
0:19:59 > 0:20:02They're not necessarily in the right order.
0:20:04 > 0:20:07The wonderful Bruce Forsyth there.
0:20:07 > 0:20:09In 1968, Eric and Ernie signed to the BBC.
0:20:09 > 0:20:13After their first series here, Eric suffered a heart attack.
0:20:13 > 0:20:16Convinced that Morecambe and Wise would never return to TV,
0:20:16 > 0:20:21Sid Green and Dick Hills, their then writers, signed to do their own show with ATV.
0:20:21 > 0:20:23Eric and Ernie needed new writers
0:20:23 > 0:20:25and they came in the shape of one man.
0:20:25 > 0:20:28A man who wrote the golden age of Morecambe and Wise.
0:20:28 > 0:20:31It's an honour to have him here this evening.
0:20:31 > 0:20:34Will you please welcome, Mr Eddie Braben!
0:20:50 > 0:20:51Thank you very much.
0:20:52 > 0:20:58Eddie, before we start, I believe this is a bit of an emotional return to the BBC studios for you?
0:20:58 > 0:21:01Yes, it's overwhelming, really.
0:21:01 > 0:21:08It's 31 years since we were last here recording the last Morecambe and Wise Christmas Show.
0:21:08 > 0:21:10APPLAUSE
0:21:15 > 0:21:18When did you first see Morecambe and Wise on stage?
0:21:18 > 0:21:22I hesitate to say this but I was 15, 16.
0:21:22 > 0:21:24They were at the Liverpool Empire
0:21:24 > 0:21:28and I went along with 1,200 other people.
0:21:28 > 0:21:32The place was packed, not a seat to be had and they were awful.
0:21:32 > 0:21:34They were dreadful.
0:21:34 > 0:21:37They were about 19 or 20 and they were learning.
0:21:37 > 0:21:40People were sitting there saying, "Who are they?"
0:21:40 > 0:21:42Nobody had ever heard of Morecambe and Wise.
0:21:42 > 0:21:46In fact they were so far down the bill, I thought they were the printers.
0:21:46 > 0:21:48LAUGHTER
0:21:51 > 0:21:53Years later when we spoke about this, they said,
0:21:53 > 0:21:57"Yes, but we were learning." You've got to learn somewhere, you know.
0:21:57 > 0:22:00You mentioned what they were like before you started work,
0:22:00 > 0:22:04let's have a look of a clip and this is when they were working for ATV from 1966.
0:22:04 > 0:22:07Well, we can do all our little jokes, can't we?
0:22:07 > 0:22:11No, Dicky will be the same size as me and I'm tired of looking up at you all the time,
0:22:11 > 0:22:12you give me a pain in the neck!
0:22:12 > 0:22:15You don't do a lot for me, you know that, don't you?
0:22:15 > 0:22:18I can bend down to your size, look.
0:22:18 > 0:22:20- There...- You can't walk about like that.
0:22:20 > 0:22:22Yes, I'll show you, it looks good.
0:22:22 > 0:22:25- Announce me... - Ladies and gentlemen, Eric Morecambe.
0:22:25 > 0:22:26What's wrong with that?
0:22:26 > 0:22:29LAUGHTER
0:22:29 > 0:22:32- It's good. - You look like Groucho Marx!
0:22:32 > 0:22:34Nah, it's silly. You can't do that, no.
0:22:34 > 0:22:37Oh, what about you - stand up on your toes.
0:22:37 > 0:22:38You'll get up to my height then.
0:22:38 > 0:22:42Stand up on your toes, go on. On your toes, stand up on your toes!
0:22:42 > 0:22:44I am standing on my toes!
0:22:44 > 0:22:47- You're not, are you?- Yes.
0:22:47 > 0:22:50You must have tiny, little toes.
0:22:50 > 0:22:53I've got little, short, fat, hairy ones!
0:22:57 > 0:23:00There's quite an aggressive thing going on between them there?
0:23:00 > 0:23:07What it didn't show was the warmth, the affection and the charm of these two men which I saw right away.
0:23:07 > 0:23:11Did you think, if I can get that warmth that they do...
0:23:11 > 0:23:17Yes. If I can get the warmth and the affection and make it funny, it might work.
0:23:17 > 0:23:19We might have something special.
0:23:19 > 0:23:21- And it did work, and it was special. - Absolutely!
0:23:21 > 0:23:24One of the ideas you had some difficulty in persuading them
0:23:24 > 0:23:27was the bed sequences where they would be in bed together?
0:23:27 > 0:23:31I could never, ever understand why they wouldn't have the bed scene.
0:23:31 > 0:23:33Nobody was keen on... I was so naive.
0:23:33 > 0:23:36I couldn't seen anything wrong with two men being in bed!
0:23:36 > 0:23:38I really couldn't see anything wrong!
0:23:38 > 0:23:42- I mean, just a few minutes ago, we saw two men sharing a pair of trousers.- Yeah.
0:23:42 > 0:23:44LAUGHTER
0:23:44 > 0:23:47That's called the credit crunch!
0:23:49 > 0:23:51APPLAUSE
0:23:54 > 0:23:57This is the first bed sequence that Eddie wrote.
0:23:59 > 0:24:01This, er, anybody's place?
0:24:02 > 0:24:04- Do you mind if I, er...?- No.
0:24:04 > 0:24:07- Eric Morecambe. - Ernie Wise.- How are you?
0:24:07 > 0:24:09Thanks for inviting me into your bed.
0:24:09 > 0:24:10Yeah...
0:24:14 > 0:24:16It's been a grand day for it, hasn't it?
0:24:17 > 0:24:20- A grand day for what?- Well, it all depends what you've been doing.
0:24:22 > 0:24:24Do you fancy a rehearsal?
0:24:24 > 0:24:25Pardon?
0:24:29 > 0:24:33- Do you fancy a rehearsal? - No, no, I'm too tired, really.
0:24:33 > 0:24:36Hey, I've got next week's script, it's very funny.
0:24:36 > 0:24:38Have they sent us the wrong one again?
0:24:38 > 0:24:42I don't want to say anything but the bed's moving again.
0:24:42 > 0:24:45LOUD LAUGHTER
0:24:50 > 0:24:52The finest props in the country, these.
0:24:56 > 0:25:01I'll tell you something else as well. That was a lovely mental picture you showed there.
0:25:09 > 0:25:12There was another element you brought as well - as well as making
0:25:12 > 0:25:19the warmer couple on screen, you expanded Ernie's role greatly with making him a playwright.
0:25:19 > 0:25:21I made Ernie the pompous author.
0:25:21 > 0:25:24- What was his reaction to that? - He was overjoyed.
0:25:24 > 0:25:29- Was he?- He was thrilled but he said, "At last, I've got something I can really get my teeth into.
0:25:29 > 0:25:35"I can do something with this part. I can perform." And he did.
0:25:35 > 0:25:39Eric said to me after one particular sketch, I said to Eric, I said, "Ernie was good."
0:25:39 > 0:25:42He said, "For God's sake don't tell him."
0:25:44 > 0:25:46He was good. Being the pompous author.
0:25:46 > 0:25:50And also gave Eric something to bounce off. He would say to Ernie...
0:25:50 > 0:25:53Ernie's writing the play, "Another belter?"
0:25:53 > 0:25:56"Not really, struggling with this one."
0:25:56 > 0:25:57"Ern...
0:25:57 > 0:26:02"Words fall from your pen like pearls from a broken necklace.
0:26:03 > 0:26:07"You could be another George Bernard Priestley."
0:26:10 > 0:26:13"Shaw." "Positive."
0:26:13 > 0:26:14LAUGHTER
0:26:18 > 0:26:21I can't tell you what an honour it is to be talking to you.
0:26:21 > 0:26:24- It's absolutely wonderful. - The other line he said,
0:26:24 > 0:26:28"Ern, you could be, you could be another Bronte sister."
0:26:30 > 0:26:32"I can't sing."
0:26:34 > 0:26:37"No, but you've got the legs for it."
0:26:37 > 0:26:42We were talking about the plays. let's have a look at a selection of some what Ernie wrote..
0:26:42 > 0:26:45- Sir Eric... - What a fine actor this boy is.
0:26:45 > 0:26:49- No, it's a girl.- Is it?- Yeah. - You could have fooled me from here.
0:26:49 > 0:26:52- You must be glad to be back from your travels.- Got a cold?
0:26:52 > 0:26:54I must ask you, Sir Eric,
0:26:54 > 0:26:57tell me about your doings?
0:27:03 > 0:27:04Well...
0:27:04 > 0:27:07Do I tell him or do I just get up and go?
0:27:07 > 0:27:11What did His Majesty ask you?
0:27:11 > 0:27:15- MOCK ACCENT: - He wants to know about me doings.
0:27:15 > 0:27:18- SHOUTS:- What news of Carlisle? - They won 3-1!
0:27:20 > 0:27:22I sit alone
0:27:22 > 0:27:23and the firelight flickers.
0:27:28 > 0:27:30And I think of you
0:27:30 > 0:27:32in your navy blue cardigan.
0:27:34 > 0:27:35How dare you, sir!
0:27:35 > 0:27:37I said, "cardigan."
0:27:37 > 0:27:41- I said, "cardigan", didn't I? - Get out of this house.
0:27:41 > 0:27:43Father, have you no mercy?
0:27:43 > 0:27:47"And I think of you in your navy blue cardigan."
0:27:47 > 0:27:49- You dirty devil!- Out!
0:27:50 > 0:27:54Now. It's all beginning to make sense.
0:27:57 > 0:27:59You realise what this means, don't you?
0:28:03 > 0:28:05Well, they'll never get away with it.
0:28:10 > 0:28:13Of course, it's a long shot but it might just work.
0:28:13 > 0:28:16Anyway...
0:28:19 > 0:28:20Forensic will tell us.
0:28:26 > 0:28:30# Hold you in my arms... #
0:28:40 > 0:28:43- Hey! What do you think of it so far? - Rubbish!
0:28:44 > 0:28:47This deadly serpent will put an end to my misery
0:28:47 > 0:28:51by biting me on the breast!
0:28:57 > 0:29:00- Could I have a word with you, please?- Yes.
0:29:02 > 0:29:04- Is it all official? - Yes, it's all in the play,
0:29:04 > 0:29:07- the snake comes out of the basket and bites her on the breast.- Fine.
0:29:07 > 0:29:10- Oh, end it for me now. - Ready when you are.
0:29:17 > 0:29:21- Comedies are notoriously short-lived...- Yes.
0:29:21 > 0:29:24What's funny last week isn't funny this week,
0:29:24 > 0:29:30but every so often something comes along like Morecambe and Wise which becomes timeless
0:29:30 > 0:29:36and we can say for certain that 30 years after the event Morecambe and Wise are as funny as they ever were.
0:29:36 > 0:29:41It's an extraordinary achievement and it must be gratifying that you played such a large part in this
0:29:41 > 0:29:46and to see stuff that you worked so hard on all those years ago still getting huge laughs.
0:29:46 > 0:29:49It's overwhelming to be quite honest.
0:29:49 > 0:29:54To realise, which I didn't realise then because I was so involved in everything,
0:29:54 > 0:29:57how important it was to so many people.
0:29:58 > 0:30:04But now, I can see it now and I can appreciate it now, but I couldn't appreciate it then.
0:30:04 > 0:30:07You wrote the show for many, many years
0:30:07 > 0:30:12and I suppose one of the keys to coming up with that amount of material was to find a running gag,
0:30:12 > 0:30:16a situation that you can come back to in sketch form, week in and week out.
0:30:16 > 0:30:22- The one I'm thinking of is the two monks.- I'm glad you've said that - they were my favourites as well.
0:30:22 > 0:30:24- Were they? - I really enjoyed the two monks, yes.
0:30:24 > 0:30:27- Eric and Ernie liked them because they didn't have to learn any words. - Yes!
0:30:27 > 0:30:33Let's have a look of an example of one of Eddie's and Eric and Ernie's two monk sketches.
0:30:35 > 0:30:37BELL RINGS
0:31:02 > 0:31:04CHEERING AND APPLAUSE
0:31:04 > 0:31:08- Ladies and gentlemen, Eddie Braben! - Thank you. Thank you.
0:31:09 > 0:31:12Thank you very much. Thank you.
0:31:12 > 0:31:18A regular feature of Eric and Ernie's show was the musical interlude and why should tonight be any different.
0:31:18 > 0:31:23Here are the two boys with singer Nina, one half of Danish calypso sensation Nina and Frederik.
0:31:25 > 0:31:28Now, could we take it from the top, Nina, the Banana Boat song.
0:31:28 > 0:31:30Right. # Day... #
0:31:30 > 0:31:31Hold it, son.
0:31:33 > 0:31:36- Before we go any further...- Yes?
0:31:36 > 0:31:39I can't find the hole to blow down these.
0:31:41 > 0:31:46- I can't find the hole to blow down these?!- Neither can I.
0:31:49 > 0:31:53You don't blow them, you shake them!
0:31:55 > 0:31:57Now there's a novelty.
0:31:59 > 0:32:04- Are we ready, Nina?- Yes.- Can we take it from the top?- Right.- Right. Let's go now, Banana Boat song.
0:32:04 > 0:32:07# Day, me say day-o... #
0:32:07 > 0:32:09- Is she all right?- Yes.- Oh.
0:32:09 > 0:32:12- # Come and me wan' go... # - Oh!
0:32:15 > 0:32:19- Oh!- # Come, mister tally man tally me banana... #- Oh!
0:32:19 > 0:32:23- # Daylight come and me wan' go home... #- Oh!
0:32:36 > 0:32:41- You're not...- That's The Boat Song. Has she forgotten the words?
0:32:41 > 0:32:43- Have you forgot the words? - No, I haven't.
0:32:43 > 0:32:46Because we can have them written for you on a card in Danish,
0:32:46 > 0:32:49in bacon rind to make you feel at home.
0:32:51 > 0:32:55- Listen... - Yes.- You are not making a sound.
0:32:55 > 0:32:58At one point I was definitely overdoing it.
0:32:59 > 0:33:02They are supposed to go like this, now let me show you.
0:33:03 > 0:33:06HE RATTLES MARACAS
0:33:06 > 0:33:10- You are good. - Try it again.- Thank you.
0:33:10 > 0:33:12- Ready when you are, Nina.- Right.
0:33:12 > 0:33:16- # Work all night on a drink of rum... #- Oh!
0:33:16 > 0:33:21- # Daylight came and we wan' go home... #- Oh!
0:33:25 > 0:33:29I must be honest, I'm having trouble with mine.
0:33:32 > 0:33:35- This is terrible! - I think she's doing quite well.
0:33:35 > 0:33:38Not Nina, you!
0:33:39 > 0:33:43- How do you fancy a tambourine? - I'll eat anything.
0:33:45 > 0:33:47This isn't... What happened then?
0:33:47 > 0:33:49Not a lot.
0:33:50 > 0:33:53If you'd have dropped it...
0:33:53 > 0:33:57This is a tambourine. HE RATTLES TAMBOURINE
0:33:57 > 0:34:00- How does he do it? - Now, can we try it once again?
0:34:00 > 0:34:03- Ready when you are, pally! - All right.- Thank you, Nina.
0:34:03 > 0:34:07- # It's a six foot, seven foot eight foot bunch... #- Oh!
0:34:07 > 0:34:12- # Daylight come and we wan' go home... #- Oh!
0:34:12 > 0:34:16- # Six foot, seven foot eight foot bunch... #- Hold it, son.
0:34:22 > 0:34:25You are not getting it right, are you?
0:34:25 > 0:34:26HE RATTLES
0:34:34 > 0:34:36Do that again.
0:34:36 > 0:34:38HE RATTLES
0:34:38 > 0:34:40Now the hand.
0:34:40 > 0:34:41ERIC'S HAND RATTLES
0:34:41 > 0:34:43- A one...- Just a moment, son.
0:34:43 > 0:34:45SLEIGH BELLS JINGLE
0:34:47 > 0:34:49RATTLING
0:34:50 > 0:34:53ERIC REPEATS ALL HIS SOUNDS
0:35:04 > 0:35:08- Have you quite finished? - There's not a lot left to shake.
0:35:10 > 0:35:13A one, two... a one, two, three, four...
0:35:13 > 0:35:17- # Come, mister tally man tally me banana... #- Oh!
0:35:22 > 0:35:27Ladies and gentlemen, the guest stars keep coming. Will you please welcome Mr Jack Dee!
0:35:27 > 0:35:30APPLAUSE
0:35:43 > 0:35:47- Thank you.- Jack, welcome. What are your earliest memories of Morecambe and Wise?
0:35:47 > 0:35:51- My real early memory was the paper bag trick...- Oh, yes.
0:35:51 > 0:35:55..and being obsessed with that and wanting to know how to do it.
0:35:55 > 0:35:57Of course, my brother mastered it straight away and I couldn't.
0:35:57 > 0:36:01- Is your brother older than you? - Four years younger.- Oh, right!
0:36:01 > 0:36:04- I was giving you an out.- Yeah.
0:36:04 > 0:36:07He's five years older in my defence,
0:36:07 > 0:36:13- but I've always loved the simplicity of that. It's perfect. - Did you ever master it?- Yes.
0:36:13 > 0:36:19- Have you brought a brown paper bag with you?- I did, and if you'd like, I could...
0:36:19 > 0:36:21CHEERING AND APPLAUSE
0:36:24 > 0:36:28It's not an ordinary paper bag, obviously. It's a special one.
0:36:28 > 0:36:30I paid quite a lot for it.
0:36:30 > 0:36:32- On eBay?- eBag.
0:36:34 > 0:36:37Here we are. The only thing I haven't got is an invisible ball.
0:36:37 > 0:36:41I've got an invisible ball here, I think...
0:36:41 > 0:36:43- Shall I give it a bounce?- OK, please.
0:36:43 > 0:36:45There we go.
0:36:45 > 0:36:47APPLAUSE
0:36:50 > 0:36:55I think it's only fair we should see Eric and Ernie doing it as well. Here's Eric Morecambe.
0:37:05 > 0:37:07Hey-hey!
0:37:11 > 0:37:17With the world of comedy we grew up working with in comedy clubs and stuff,
0:37:17 > 0:37:19you've a bare stage, you haven't got the theatrical curtains.
0:37:19 > 0:37:24A lot of their sketches that have the theatrical curtains are very strong -
0:37:24 > 0:37:28it gives you a chance to see something quickly emerge from behind.
0:37:28 > 0:37:32Yeah, it's a great device because you've got the curtain and there's tension
0:37:32 > 0:37:37because you know something's gonna happen, Eric's gonna turn up and come from it.
0:37:37 > 0:37:42I don't think anyone else would have got away with doing that so often,
0:37:42 > 0:37:45you wouldn't have had the patience to watch it,
0:37:45 > 0:37:52but because you knew Eric was gonna turn up, it was such a clever, simple device.
0:37:52 > 0:37:56Let's have a look at a couple of examples of some of the curtain gags they did.
0:37:56 > 0:37:58- You've got a dog?- Yeah.
0:37:58 > 0:38:01- What sort is it? - Siberian puddle maker.
0:38:03 > 0:38:05- Have you seen him?- No. - I'll go get him for you.
0:38:05 > 0:38:09No, don't bother. Ladies and gentlemen, I'd like to take a trip...
0:38:11 > 0:38:13Come on, let's have him.
0:38:18 > 0:38:21- Crikey! Don't bring him on here!- Oh!
0:38:22 > 0:38:24LAUGHTER DROWNS SPEECH
0:38:28 > 0:38:30You can't see the dandruff.
0:38:30 > 0:38:33- You can see nothing.- Look, hold it!
0:38:33 > 0:38:36Hold it, hold it, hold it. Hold, hold, hold...
0:38:36 > 0:38:39Be careful now, Mr Wise is annoyed.
0:38:40 > 0:38:43When half a star gets annoyed, watch out.
0:38:48 > 0:38:53When we started off we both used to be in solo stand-ups, but double acts are a different thing.
0:38:53 > 0:38:57How important do you think Ernie was to the relationship?
0:38:57 > 0:39:00You know, really important. I think what Ernie brings...
0:39:00 > 0:39:03Eric Morecambe is such a powerful comedy engine as it were
0:39:03 > 0:39:09and to have Ernie there as something to bounce off was really, really important.
0:39:09 > 0:39:12Ernie's not just a straight man, he had a straight agenda all the time.
0:39:12 > 0:39:15That's what I always loved about it.
0:39:15 > 0:39:17What he had to say was sufficiently interesting.
0:39:17 > 0:39:21I'd think, "I would like to see this play." Then Eric would come in and undermine it.
0:39:21 > 0:39:26I think that was what made Eric Morecambe work so well against that.
0:39:26 > 0:39:31- Yes, because Eric's reaction has to depend on a solid base that Ernie is setting out.- Yes.
0:39:31 > 0:39:36In the domestic scenes they do, when the two of them are sitting around the coffee table
0:39:36 > 0:39:39and looking out of the window and all that stuff,
0:39:39 > 0:39:44- I always had the desire to be one of those people knocking on the door.- It would've been lovely.
0:39:44 > 0:39:49To be part of the scene all of a sudden would have been fantastic, yeah.
0:39:49 > 0:39:55And the people that worked on the show said they were welcoming and made you feel good.
0:39:55 > 0:39:58Let's have a look at a couple of those domestic settings.
0:39:58 > 0:40:01The first one, I think, features Fenella Fielding.
0:40:01 > 0:40:04I don't know what it is about this lovely little fellow,
0:40:04 > 0:40:09but whenever I see him something deep down inside of me goes...
0:40:13 > 0:40:19- I adore elderberry wine.- You haven't tasted elderberry wine until you've tasted my elderberry wine.
0:40:24 > 0:40:26Now...
0:40:26 > 0:40:31it might turn your teeth a little black, but you can spit the pips anywhere.
0:40:36 > 0:40:40That was Glenda Jackson there. Ladies and gentlemen, Mr Jack Dee!
0:40:40 > 0:40:43CHEERING AND APPLAUSE
0:40:45 > 0:40:51The sketch Eric and Ernie considered the best we've seen in an earlier version - Grieg's Piano Concerto -
0:40:51 > 0:40:55but the man who helped to make it the masterpiece it is was Andre Previn.
0:40:55 > 0:40:57I recently spoke to him in London.
0:40:57 > 0:41:01How did you first get contacted by Morecambe and Wise to appear on their show?
0:41:01 > 0:41:06Well, they had a kind of a permanent producer,
0:41:06 > 0:41:11but he was a great friend of John Culshaw who was the head of BBC Two for a while
0:41:11 > 0:41:16and who was a very famous classical music director and producer.
0:41:16 > 0:41:19He knew me very well and he called up and he said,
0:41:19 > 0:41:25"I don't suppose you'll say yes, but do you know who Morecambe and Wise are?"
0:41:25 > 0:41:29I said, "Of course I do." He said, "Well, they would like you to be a guest on the show."
0:41:29 > 0:41:35As soon as I found out it wasn't a send up I said, "I'd love it."
0:41:35 > 0:41:43Let's give a warm welcome to the principle conductor from the London Symphony Orchestra, Mr Andre Previn!
0:41:43 > 0:41:48- You were the conductor of the London Symphony Orchestra.- Yes.- A serious musician, serious composer.- Yes.
0:41:48 > 0:41:52Some people would have thought I've got everything to lose by appearing on The Morecambe And Wise Show.
0:41:52 > 0:41:57Oh, no, no, that wouldn't have occurred to me. It's...
0:41:57 > 0:42:04To work with great people in whatever discipline they happen to be is always a treat.
0:42:04 > 0:42:06I was really looking forward to it.
0:42:06 > 0:42:13Eric was very sweet. He told me later that he was worried about things like timing and all that,
0:42:13 > 0:42:17but the first time I read a joke he thought, "We're home and dry."
0:42:17 > 0:42:21Does a musician's timing help in comedy timing? It's about rhythm...
0:42:21 > 0:42:24I have known a lot of unfunny musicians, trust me.
0:42:24 > 0:42:28And a lot of comedians who can't play instruments?
0:42:28 > 0:42:31Yes. But, er...
0:42:31 > 0:42:36they made life very easy. I was just having a good time.
0:42:36 > 0:42:39- Were you aware something special was happening while you were doing it?- No.
0:42:39 > 0:42:46No, no, I didn't think that... The fact that it's been played, how many times? Almost every year.
0:42:46 > 0:42:49It's been voted by people on this show -
0:42:49 > 0:42:55- their favourite Morecambe and Wise sketch is the Andrew Preview...- Yeah.
0:42:55 > 0:42:57- Say hello to Mr Preview. - Mr Preview, how are you?
0:42:57 > 0:42:59I do assure you, Mr Preview...
0:42:59 > 0:43:02- Privet.- Er, Previn. - Don't go, Mr Preview.
0:43:02 > 0:43:04- Privet.- Previn.
0:43:04 > 0:43:07Believe me, you're in for a surprise, Mr Preview.
0:43:07 > 0:43:10- Previn!- Privet!
0:43:10 > 0:43:15One of the reasons it's considered perhaps their greatest moment
0:43:15 > 0:43:19is because you, principle conductor with the LSO, being grabbed by the collar,
0:43:19 > 0:43:25- being told he's playing the right notes, but not necessarily in the right order.- That's a great joke.
0:43:25 > 0:43:32It's your bemusement which is that extra ingredient in the whole thing which makes it a very special piece.
0:43:32 > 0:43:36To be with Eric and Ernie was a great flattery. I loved it.
0:43:36 > 0:43:38Grieg by...with him and him.
0:43:38 > 0:43:40MUSIC PLAYS
0:43:42 > 0:43:44Great!
0:43:44 > 0:43:46ERIC PLAYS A DIFFERENT TUNE
0:44:10 > 0:44:13Something wrong with the violins?
0:44:14 > 0:44:18- No, there's nothing wrong with the violins.- That's only your opinion.
0:44:19 > 0:44:24- What were you playing just then? - The Grieg Piano Concerto.
0:44:24 > 0:44:27ERIC CONTINUES PLAYING WRONG TUNE
0:44:28 > 0:44:33But-but...you're playing... you're playing all the wrong notes.
0:44:45 > 0:44:48I'm playing all the right notes,
0:44:48 > 0:44:52but not necessarily in the right order.
0:44:54 > 0:44:58I'll give you that. I'll give you that, sunshine.
0:45:03 > 0:45:05Our thanks to Andre Previn there.
0:45:05 > 0:45:09Of all the guest stars that ever appeared on The Morecambe And Wise Show,
0:45:09 > 0:45:12no-one created a bigger impact than our next guest of this evening.
0:45:12 > 0:45:18- Let's see her in action.- A report on the economy has just come through from Number 11 Downing Street.
0:45:18 > 0:45:20The Chancellor's statement reads as follows,
0:45:20 > 0:45:23"There may be trouble ahead,
0:45:23 > 0:45:28"but while there's moonlight and music and love and romance..."
0:45:30 > 0:45:33# Let's face the music and dance
0:45:54 > 0:46:00# You were meant for me
0:46:01 > 0:46:07# I was meant for you
0:46:08 > 0:46:12# Nature fashioned you
0:46:12 > 0:46:15# And when she was done
0:46:15 > 0:46:19# You were all the sweet things
0:46:19 > 0:46:22# Rolled into one... #
0:46:29 > 0:46:31Ladies and gentlemen, Miss Angela Rippon!
0:46:31 > 0:46:34CHEERING AND APPLAUSE
0:46:46 > 0:46:49Lovely to see you.
0:46:54 > 0:47:00- Angela, that's probably one of the most famous moments in British television.- So I'm told, yes.
0:47:00 > 0:47:05It was lovely standing in the wings waiting to come on to see Andrew Preview and the boys in the band
0:47:05 > 0:47:10because I've always felt that is the funniest of all of the sketches they did.
0:47:10 > 0:47:15- One of the things I like when you watch it again is the musicians reactions in the background.- Yes.
0:47:15 > 0:47:18Because the famous conductor is being roughed up a bit.
0:47:18 > 0:47:23- But Andre just stood there with that wonderful deadpan face.- Yes.
0:47:23 > 0:47:27He was the perfect straight man for that gag. He was just wonderful.
0:47:27 > 0:47:31It's interesting you should say that because the two bits of advice Eric gave to him,
0:47:31 > 0:47:37he said, "First of all, if we ad lib, listen to what we're saying, but secondly don't find it funny.
0:47:37 > 0:47:44"Whatever we do, keep it straight," cos you get that extra laugh with the look of bemusement, there's horror.
0:47:44 > 0:47:46If he was laughing, you'd lose so much.
0:47:46 > 0:47:49- He did it brilliantly. - He did it absolutely brilliantly.
0:47:49 > 0:47:56To put your appearance into context, now we're used to seeing newsreaders popping up in jungles or whatever.
0:47:56 > 0:48:00For want of a better word, the celebrity is no longer seen in one situation.
0:48:00 > 0:48:02- Boy, what did I start.- Yes!
0:48:02 > 0:48:08So you're a serious newsreader in 1976 when you first did that, how were you first approached?
0:48:08 > 0:48:12As it happens, so very often, just by a telephone call.
0:48:12 > 0:48:15I got a call from Ernest Maxim, their producer,
0:48:15 > 0:48:19who said the boys would like you to be on their Christmas show.
0:48:19 > 0:48:25I think it took about 10 minutes for me to come down off the ceiling
0:48:25 > 0:48:29because at that time they were at the top of their profession.
0:48:29 > 0:48:34They were the two most famous men on television, the two funniest men on television.
0:48:34 > 0:48:40I was at that time quite well known because I was reading the 9 o'clock news so I had quite a high profile
0:48:40 > 0:48:46and they'd started this tradition of having someone do something out of the box
0:48:46 > 0:48:50as a guest at the very end of their major Christmas shows.
0:48:50 > 0:48:54They had Glenda Jackson doing the famous bit with Cleopatra.
0:48:54 > 0:48:57They had Andre doing the thing with Andrew Preview.
0:48:57 > 0:49:00- Famous people, but not doing what they're famous for? - No, completely out of the box.
0:49:00 > 0:49:05Ernest Maxim was one of the two main producers they had at the BBC. John Ammonds being the other one.
0:49:05 > 0:49:11These two guys were very, very important to the whole career of Eric and Ernie, weren't they?
0:49:11 > 0:49:14Very much so and I mean the great thing about Ernest Maxim,
0:49:14 > 0:49:17I always felt he was Gene Kelly personified.
0:49:17 > 0:49:24You know how Gene Kelly, a wonderful American dancer, had a particular way of moving when he was dancing.
0:49:24 > 0:49:29Ernest had been a dancer and is, and was, a great choreographer.
0:49:29 > 0:49:36It was wonderful working with him because he was great for the guys because neither of them were...
0:49:36 > 0:49:41- they were hoofers.- Yes.- And Ernie, particularly, was a hoofer,
0:49:41 > 0:49:45he was a good tap dancer, and Eric sort of joined in.
0:49:45 > 0:49:51I think Ernest Maxim was brilliant for them because he choreographed to their strengths
0:49:51 > 0:49:53and did what made them look good.
0:49:53 > 0:49:58So when we actually came to do the routine, that was what he did.
0:49:58 > 0:50:03Let's have a look at some of Ernest Maxim's routines put together for Morecambe and Wise.
0:50:03 > 0:50:05MUSIC PLAYS
0:50:11 > 0:50:14# There is nothing like a dame
0:50:14 > 0:50:17# Nothing in the world
0:50:17 > 0:50:24# There is nothing that you can name That is anything like a dame... #
0:50:24 > 0:50:29# I'm singing, just singing in the rain
0:50:32 > 0:50:34# I'm dancing in the rain
0:50:34 > 0:50:38# Da-da-da, da-da-da
0:50:38 > 0:50:42# La-de-da, de-da-dee-da
0:50:42 > 0:50:45# I'm happy again
0:50:45 > 0:50:48# I walk down the lane
0:50:48 > 0:50:52# With a happy refrain
0:50:52 > 0:50:57# Just singing and dancing in the rain... #
0:51:02 > 0:51:04STRIPPER MUSIC PLAYS
0:52:01 > 0:52:03LAUGHTER AND APPLAUSE
0:52:07 > 0:52:12What were they like when you got to meet them and worked on the routine?
0:52:12 > 0:52:15- What were your immediate impressions? - That was the great thing about them.
0:52:15 > 0:52:17I'd never met them up until then, obviously.
0:52:17 > 0:52:21I think the wonderful thing about Eric and Ern was that,
0:52:21 > 0:52:25although they were such great stars, they were fab people.
0:52:25 > 0:52:31They were just as lovely in real life, if you like,
0:52:31 > 0:52:34away from their act as they were when they were performing.
0:52:34 > 0:52:41The great thing about them was, even though their Christmas show got the biggest audiences of the year,
0:52:41 > 0:52:46they made you, as someone who was appearing in their show, feel as if you were the most important person.
0:52:46 > 0:52:51They seemed to have a great affinity with the female guests particularly. Have a look.
0:52:51 > 0:52:54MUSIC PLAYS
0:53:06 > 0:53:09I can't get down there, I suffer from vertigo.
0:53:09 > 0:53:13- She suffers from vertigo. - Does she?- That's wind, isn't it?
0:53:13 > 0:53:16- Heights!- As well? - Yes. You get down there...
0:53:16 > 0:53:19- If I could...- Yeah, and I'll come down and she'll climb down.
0:53:19 > 0:53:22Yes. Fine. I'm sorry about this.
0:53:22 > 0:53:24- I can't climb down there in this dress.- My hand, my hand...
0:53:24 > 0:53:26- Where is it? - It's where it shouldn't be!
0:53:26 > 0:53:28I can't get down there in this dress.
0:53:28 > 0:53:30Do something with the dress, love.
0:53:30 > 0:53:33- It's been specially made. - Yes, I realise.
0:53:36 > 0:53:40- If you just climb down here... - I don't like heights at all.
0:53:40 > 0:53:43We're in, don't worry. Can you get that leg down?
0:53:43 > 0:53:45I'll hold onto anything that...
0:53:48 > 0:53:50- Dignity at all times.- Yes.
0:53:50 > 0:53:53I'm sorry.
0:53:53 > 0:53:55I'm trying a little. This one...
0:54:01 > 0:54:04There. Lovely. Oh!
0:54:04 > 0:54:06Yes, fine, are we in now?
0:54:06 > 0:54:08- Got you.- Lovely.
0:54:08 > 0:54:11- Argh!- Don't look.
0:54:11 > 0:54:14There we are. We got it made. I don't think...
0:54:18 > 0:54:20Keep smiling.
0:54:20 > 0:54:25# Smoke gets in your eyes
0:54:28 > 0:54:34# So I chaffed them and gaily laughed
0:54:34 > 0:54:40# To think they could doubt my love
0:54:42 > 0:54:47# Yet today my love has flown away
0:54:47 > 0:54:53# I am without my love
0:54:55 > 0:55:00# Now laughing friends deride
0:55:00 > 0:55:06# Tears I cannot hide
0:55:06 > 0:55:10# So I smile and say
0:55:10 > 0:55:13# When a lovely flame dies
0:55:13 > 0:55:17# Smoke gets in your eyes
0:55:21 > 0:55:24# So I chaffed them... #
0:55:30 > 0:55:37After you made your appearance on the show I imagine the public reaction would have been quite strong
0:55:37 > 0:55:43because as a newsreader it would be assumed that you didn't have legs, you'd be walking around on casters.
0:55:43 > 0:55:45What was the reaction?
0:55:45 > 0:55:50Yes, it was pretty intense because, I suppose, up until then
0:55:50 > 0:55:54newsreaders had been very much within their box,
0:55:54 > 0:55:59being very serious and quite right too because news is a serious business.
0:55:59 > 0:56:04I think that Eric and Ern, they realised that it was possible
0:56:04 > 0:56:08to take people out of the straitjacket of what they were particularly known for
0:56:08 > 0:56:13and give them an opportunity to show that they had another side to their character and nature.
0:56:13 > 0:56:18In fact, to this day, I still get people shouting, "Ang, show us your legs!"
0:56:19 > 0:56:26People literally come up to me, I think, two, three, five, ten times a week
0:56:26 > 0:56:32and ask the perennial question - what was it like to work with Morecambe and Wise?
0:56:32 > 0:56:37I don't know how many times I've been asked that question over the last 30 years.
0:56:37 > 0:56:39Hundreds, thousands of times.
0:56:39 > 0:56:46People very often now, because it's such a long time ago, say, "You must get fed up of being asked this."
0:56:46 > 0:56:52Actually, no, I don't. I take it as an enormous compliment because I think they were comic geniuses.
0:56:52 > 0:56:58Neither of them are with us now. They were lovely guys. They were wonderful to work with.
0:56:58 > 0:57:01They were as funny off screen as they were on.
0:57:01 > 0:57:05They were gentlemen, they were lovely, lovely people.
0:57:05 > 0:57:08The magic of video tape means we can look back at it
0:57:08 > 0:57:14and the selections we've shown tonight have got as big a laugh as they did back in the '70s.
0:57:14 > 0:57:16- They will never die. - Timeless genius.
0:57:16 > 0:57:19Ladies and gentlemen, Angela Rippon!
0:57:24 > 0:57:27At the end of every show, Eric and Ernie would finish on a song,
0:57:27 > 0:57:30the best loved of which was Bring Me Sunshine.
0:57:30 > 0:57:36Of all the times they've sung it, this is my favourite because I think this looks like a second take.
0:57:36 > 0:57:38Have a look as Eric walks forward and shakes his head.
0:57:38 > 0:57:43Somebody has definitely forgotten the lyrics because that explains their unique delivery. Have a look.
0:57:47 > 0:57:49# Bring me sunshine
0:57:49 > 0:57:51# In your smile
0:57:51 > 0:57:54# Bring me laughter
0:57:54 > 0:57:57# All the while... #
0:57:57 > 0:58:00- In this world where we live... - # In this world where we live...
0:58:00 > 0:58:03# There should be more happiness... #
0:58:03 > 0:58:06So much joy... # So much much joy you can give
0:58:06 > 0:58:08# To each brand new bright tomorrow
0:58:08 > 0:58:11- # Make me happy... # - Though the years...
0:58:11 > 0:58:14# Through the years... # Never bring me, never bring me...
0:58:14 > 0:58:16- # Never bring me... # - Any tears...
0:58:16 > 0:58:19- # Any tears... # - Let your arms be as warm.- Pardon.
0:58:19 > 0:58:22# Let your arms be as warm
0:58:22 > 0:58:24# As the sun from up above
0:58:24 > 0:58:29# Bring me fun, bring me sunshine Bring me love! #
0:58:29 > 0:58:32Ching-a-ling-a-ling-a-ling! Ya!
0:58:34 > 0:58:37From all of us here, thank you for watching.
0:58:37 > 0:58:40And, thank you, Eric and Ernie.
0:58:42 > 0:58:45# Bring me sunshine
0:58:45 > 0:58:48# In your smile
0:58:48 > 0:58:50# Bring me laughter
0:58:50 > 0:58:52# All the while
0:58:52 > 0:58:58# Bring me fun, bring me sunshine bring me love sweet love
0:58:58 > 0:59:01# Bring me fun, bring me sunshine
0:59:01 > 0:59:06# Bring me love! #
0:59:08 > 0:59:10Now, there's a novelty!