Lasting appeal of classics like Fawlty and OFAH

Dear all,

I am teaching a seminar on British TV comedy at the University of Zurich (Switzerland). next week we will be discussing the lasting appeal of classics such as Fawlty Towers / Only Fools.

I'd be interested to know what you think the lasting appeal of the classics is, particularly in the way they deal with British culture. I would then use some of your comments in class for discussion.

Thanks in advance for any replies,

David

Wow, the Swiss study British TV Comedy at University? Good on them.

It would take a long dissertation to truly explain why these shows have enduring appeal, but I would probably put it down to two things. Firstly, they are so eduringly popular because we British like to see ourselves lampooned and ridiculed, eccentric and ultimately destined to fail, as was Basil and the Trotters (until they became millionaires). Also, I think they appeal to our sense of what it means to be British and a sense of belonging. Which of us wouldn't secretly like to stay at Fawlty Towers or have a pint with Del Boy and the rest at the Nag's Head. So these shows endure due to a sense of nostalgia for a Britain that really never existed, but in these kind of shows (I'd include Dad's Army and Rising Damp in any discussion) they somehow did.

Ultimately, we as a society don't really like to celebrate winners or success. It's seen as 'getting above yourself'. Therefore we prefer our comedy to feature plucky losers. I think that's why these shows endure.

I agree with Tim. But to go further...

I think with Fawlty Towers, it's had the advantage of being totally isolated. Apart from a reference to James Cagney ("you dirty rat!"), and one to Henry Kissinger, I can't think of anything really contemporary or in reference to the outside world. Thus it's essentially isolated within its own creation and doesn't rely on any links to the culture when it was made, therefore being more accessible to more people over a longer period of time.

It's also built on a basic situation. A man with aspirations is surrounded by idiots and other people who thwart his every attempt to better himself or make any positive changes to his life. Everyone's felt like that at some point. And unlike other shows, that's pretty much it. There's no deviation from the central theme. In every episode Basil tries to do something he considers to be a positive change. And every episode he is thwarted by an awkward guest. A conman. His devious wife. Inept staff.

Exactly the same thing happens in every episode, just in a different way. And since that thing is something which everyone can identify with, it's a good, solid base.

The fact that the show is so intricately plotted and farcical without being plain stupid only adds to its appeal. There's no swearing, nothing offensive to put anyone off. And unlike many current shows, which IMO won't last, it's unashamedly funny without trying to be clever or prove a point.

Similarly with Only Fools and Horses, it works because there always have been people and always will be people who are stuck at the bottom of the ladder, trying desperately despite their own faults to climb up. Very much like Basil Fawlty really.

But OFAH was particularly of its time in that respect. It started in a time of untold wealth, prosperity, expanding opportunities and aspirations. And like Fawlty Towers, it's got a single central theme (and a pretty similar one actually); two brothers trying to climb out of the poorest parts of society and make their fortune. They had the odd success and triumph here and there, but ultimately made no progress. Even when they did eventually become millionaires, through their own stupidity it was lost.

Unlike Fawlty Towers, there are plenty of cultural references, but I don't think it relies on those references in the same way as other shows. For example, one episode features Del trying to sell car radios (I think) in the market, along with free Kylie Minogue LPs. You don't need to know anything about Kylie Minogue to get that though. The point isn't Kylie herself, but his desperate attempt to get rid of products by offering boring freebies.

I was going to make some other observations here, but I've forgettn them so shall no doubt return later!

I agree with both Tim and Aaron, especially Fawlty Towers and it's removal from a time line. It was also some of the best writing on television with some great characters everyone could relate with. Even when they were poking fun at certain people it was all done gracefully (like with Manuel). It's the same reason Monty Python can still be enjoyed today.
I just started watching Fools and Horses so I can't make much of a statement except perhaps comment on what Aaron said about being 'stuck at the bottom of the ladder'. If you compare it to American sitcoms the oldest comedies still in syndication are the ones about people who are struggling (The Honeymooners, I love Lucy, Good Times). being Relatable to the common person is a great benefit to the sitcom and its something I think American sitcoms have forgotten as most are about middle to upper class people.

Quote: Aaron @ March 2, 2008, 3:24 PM

I agree with Tim. But to go further...

I think with Fawlty Towers, it's had the advantage of being totally isolated. Apart from a reference to James Cagney ("you dirty rat!"), and one to Henry Kissinger, I can't think of anything really contemporary or in reference to the outside world.

View original

Well, how about:

British Leyland
Strikes
Rogue builders
Nouvelle Cuisine
Contraception/loose morals
Psychiatry

And probably quite a few more which I can't remember.

The essential point not to be missed about FT is the fact that it is virtually knockabout FARCE a la Whitehall. The hotel is a closed world and the action is almost uniquely confined thereto. If anyone can think of any scenes OTHER than Basil's 'duck runs' to the French restaurant, his hospital stay and Polly's police surveillance which take place outside its precincts I'd be surprised. That is where I have to agree.

Basil's paranoid, cheapskate, blame-anyone-else snobbery is the driving force which produces the humour.

Quote: Jolanta Zofia Nowak @ March 3, 2008, 2:33 PM

Well, how about:

British Leyland
Strikes
Rogue builders
Nouvelle Cuisine
Contraception/loose morals
Psychiatry

And probably quite a few more which I can't remember.

View original

Ok. I don't remember it, but British Leyland, granted. I wouldn't class any of the others as being particularly specific to the late 1970s though. Strikes, although far less common, still happen. Restaurants still try and go upmarket with posh sounding and looking food. Etc. No?

They are still cultural references to the outside world. A sitcom which is totally enclosed risks alienation from its audience and I'm sure this is why the writing threw at least some crumbs in that direction.

Yes, but again, aside from BL, they're not exactly isolated, contemporary references are they? It's not like a particular current band being mentioned in, I dunno, Two Pints for example.

Besides, I didn't say that there were NO outside/contemporary references. Just few.

There aren't that many pop culture references in FT, if any?

That's what we've just been discussing... Or do you mean pop as in pop music?

Sorry, I thought you meant general references to the times, I'm talking more specifically yes music and other such media related thingies.

Well I suppose they come under 'general references to the times', but yes, indeed. There's nothing to particularly date it, apart from the decor (and arguably the picture quality). It is non-specific and IMO non-reliant on outside, 'real world' influences from which to derive its comedy.

Or summink.

Let's get this straight and not attempt to misquote the OP who simply referred to 'British Culture'. He did not insist in any way that this must imply purely CONTEMPORARY aspects of life.

I can now add a few more such as attitudes to class and towards foreigners.

None of these are treated in any depth and, as mentioned before, are really only there as familiar markers to tie the audience in to the 'plot'.

Sorry, that's a great name.

Thanks for the replies so far. Keep them coming. When I have a bit more time I'll add my two cents

Best

David