Graham Chapman

I remember being taken as a youth to a double bill of And Now for Something Completely Different and Monty Python and the Holy Grail, and thinking even then that this was an ex-comedy, it had ceased to be. (Although for some reason I was quite taken with Michael Palin's Lumberjack Song.)

For many, of course, Monty Python remains timeless and here its original players recall how the show became a hit in America, leading to the aforementioned movies. They're still amazed at Holy Grail's success, bearing in mind Graham Chapman's alcoholism and John Cleese's self-confessed diva behaviour.

This comedy drama is an "accurate" retelling of the events surrounding the making of Monty Python's Life of Brian and the accusations against its blasphemy.

You know right from the start what you're letting yourself in for when Jesus comes onto the screen speaking Aramaic and then farts into a disciple's face. The main cast; Darren Boyd (as John Cleese), Charles Edwards (Michael Palin), Steve Punt (Eric Idle), Rufus Jones (Terry Jones), Tom Fisher (Graham Chapman) and Phil Nichol (Terry Gilliam) are great at portraying the original stars, or rather exaggerated versions of them. For example, Cleese is characterised as Basil Fawlty, Palin is the nicest man in the world and Idle is a "greedy bastard."

The programme was full of references to both Python and events relating to the modern day, and introduced by a rolling credit sequence akin to the way many episodes of Flying Circus had, which I personally found hilarious. There are other connections to the Python saga, too, like Palin's wife being played by Jones in drag (Rufus or Terry, take your pick).

Then there are the links to the actual film, such as the debate between bishops and devils which is akin to the People's Front of Judea talking about "what the Romans have ever done for us". Holy Flying Circus also refers to offensive comedy incidents in the present day, like Jerry Springer the Opera and just about anything to do with Frankie Boyle.

My favourite scene in the entire programme, however, was a cameo from Alexander McQueen as the BBC's Head of Rude Words. His wonderfully stiff performance as a typical Beeb executive reading out the rudest words he could think of was delightful. There was no racist, sexist or homophobic language - but there was a member of the Ku Klux Klan earlier on so you could argue that was covered as well.

I know many critics were dissatisfied by the fact it wasn't entirely factual. All I have to say to that is if you want something factual then watch a documentary.

This new ITV1 documentary sees Ronnie Corbett meeting up with some of his favourite comedians, past and present, while also looking back at key comedy moments.

As a result, this programme, on the whole, is not going to suit a die-hard comedy fan; because it covers lots of things that they will already know about, such as how The Two Ronnies came together, or the early radio history of Little Britain. This show is really more for the casual comedy observer who wants to learn more.

One thing that got me thinking, however, was that this first episode was all about comedy partnerships. However, Corbett didn't actually meet up with any double acts - just half of them, namely Miranda Hart, Stephen Merchant, David Mitchell, Matt Lucas and John Cleese (although admittedly there is a very good reason why Cleese's comedy partner was not on, seeing as how Graham Chapman has been dead for over 20 years).

If anything, this show seemed to be a comedian's version of Jim'll Fix It, with Corbett giving many of his comedians some exciting experiences. For example he allowed Miranda Hart to walk on to a stage where Morecambe and Wise had one of their greatest ever stage shows to the tune of "Bring Me Sunshine". Another segment saw Corbett getting Merchant a brand new tailor-made suit; another featured Corbett doing a Little Britain radio sketch, attempting to do Vicky Pollard - badly.

To be honest I was almost expecting Corbett to be sitting in his chair, holding a cigar and saying something along the lines of: "Now then, now then, I've got a letter from a Jim Davidson of London what says; 'Dear Ronnie, I haven't been on telly for years due to no-one liking my act because it is racist. So could you fix it for me to appear on your show?' Well, goodness gracious, unfortunately Ronnie Corbett's Comedy Britain does have a very tight budget, so Jim how would you like it if Ronnie fixed it for you to sing with the black and white minstrels?"

Having said all this I did like some of the archive clips that they showed, graphically onto any flat surface such as walls, clothing displays and theatre curtains. Some of them also featured clips I hadn't heard before such as one clip from The Goon Show which I found absolutely hilarious.

So, this show does contain the odd comedy laugh that you won't have heard of 50 times already, but other than that it is just a series of interviews and pleasant surprises.

Watching this series's parade of classic comedy clips, chosen by comedians of today, confirms the theory that some people just have funny bones. It wouldn't matter if Tommy Cooper were clipping his toenails or performing the elaborately shambolic glass bottle trick from 1974 that is replayed here tonight: the fez-wearing comedian induces guffaws just because of who he is. Similarly, Peter Cook and Dudley Moore go wildly off-script in their "Pete and Dud" sketch in the art gallery and start giggling, but they're naturally funny together, as Phill Jupitus and Rhod Gilbert attest here. Funny comes in many packages, and while the American stand-up Joan Rivers, chosen by Graham Norton and Jo Brand as a favourite, is well-known for her shock tactics, her outrageous quips about growing old on The Graham Norton Show appeared to take even Norton aback at the time. Other treats featured are the University Challenge scene from The Young Ones in 1984, co-starring Hugh Laurie and Stephen Fry, and the bit in the Monty Python film Life of Brian in which Graham Chapman's Brian Cohen exhorts his followers to think for themselves. It may be a clip show and most of the clips are more than familiar, but it surely contains more laughs per minute than any of the newer comedies on television tonight.

All-time best Python sketches. Vote early and often.

You may have heard, recently, that the Pythons will lend their voices to the upcoming film, A Liar's Autobiography, an animated 3D movie based on the memoir of the late Python member, Graham Chapman, who died in 1989. Chapman's own voice will be pulled from his original reading of his autobiography of the same name. Interestingly, the movie, set for a 2012 premiere, will be directed by Bill Jones, son of former Python member, Terry Jones.

Monty Python reunite for Graham Chapman film

Monty Python members have reunited to voice a 3D animated film based on the memoirs of the late Graham Chapman.

Graham Chapman: A profile

Graham Chapman was a master of the bizarre - he suggested the dead parrot for the Monty Python sketch.

Comic radicalism was the theme of Roy Smiles' Pythonesque, which swung between melancholy and hyperactivity in its homage to Monty Python. His focus was Graham Chapman (Chris Polick), whose Lady Gaga-style willingness to experiment with costume ("Does my dress go with the pipe?" he once asked) was a cover for his struggle with shyness, alcoholism and the pressures of co-writing the cult seventies TV comedy. His writing partner John Cleese (Mark Oosterveen sounding very like the beanpole performer) emitted tenderness and exasperation. The mix of scenes of realism with those in the satire-meets-panto style of the Pythons worked very well.

You're on a hiding to nothing dramatising the Monty Python story: try as you might, you're never going to be as funny as your subject. Undeterred, Roy Smiles undertook the challenge in Pythonesque, which centred on Graham Chapman's battle with booze and his early death from cancer, told in the style of those overarching comedy gods.

Written for last year's Edinburgh Festival, it probably worked better on stage, and the tone of over-egged jocularity grated somewhat. Devices such as having Eric Idle, in full "Wink-wink nudge-nudge" mode, audition Chapman and John Cleese for the Footlights were simply irritating.

For all the pastiches, even the ones that worked, it was Chapman's sombre closing speech that was truly memorable: "I was proud to be gay, proud to conquer my alcoholism, proud to be a Python, proud to write with John Cleese, and proud to play the lead in two of the funniest movies of all time. I enjoyed a full life and I was loved by many. What more can a man ask?"

You have to be a Monty Python fan, you just have to. What this play suggests is that the group stopped even thinking of working together once Graham Chapman died. It's replete with Pythonesque descriptions; there's no effort to introduce characters subtly, they're straight in giving you their life story or possibly an entire series of illuminating lies in silly voices. And it's chock-full of famous sketches, buckled a little to tell a less famous tale. Pythonesque, written for radio by the appropriately named Roy Smiles, is really the story of Chapman and his drinking, his drug use, and his impact within this special group. The moments of pathos in it are like bullets through the comedy, which is otherwise such a barrage of schoolboy daftness that you have to be a fan to enjoy it.