This paragraph appears on the Guardian web-site as part of a long piece on this summer’s must-watch TV (none of which I want to).
“As sedate as it was, the Open All Hours revival Still Open All Hours was such a hit that the BBC is repeating the idea across the board. Its sitcom season essentially works as a series of pilots for remakes of classic series. They’re remaking Are You Being Served? They’re remaking Porridge. They’re remaking Up Pompeii! and Keeping Up Appearances. They’re throwing everything they’ve got at this and, while there are bound to be a few duffers in the mix, you can bet that your mum will end up loving at least one of them.”
Given the fact that I don’t tend to watch much television at all, I’ve not really paid any attention to the Xmas TV Schedules at all. Yes, I know there’s the traditional Doctor Who Xmas Day Special, but I’m not looking forward to it with anything remotely approaching the level of last year (though I have been equally successful in avoiding any but the most basic knowledge of its contents – Santa Claus, Nick Frost, that stuff) and I am gloomily anticipating that it will end up with the continued presence of Jenna Coleman as my least favourite character on TV this millennium.
In all other respects, I remain ignorant of the fare on offer over the holiday fortnight. It was not always thus. Part of the Xmas tradition was buying the Radio and TV Times Xmas and New Year double issues and going through them with a biro marking off everything I wanted to see, a process that then underwent revision when I saw what clashed with what or, considerably more often, what clashed with what my parent(s) – owners of the TV – intended to watch instead.
Last year, the BBC gave in to the pleas and clamours of David Jason to allow him to star in a TV programme again, by reviving the once-wonderful Open All Hours for a one-off episode. In order to get round the fact that Open All Hours was a vehicle for the wonderful Ronnie Barker, and that Ronnie Barker is sadly no longer with us, Jason and writer Roy Clarke turned Granville into Arkwright, introduced a new character to play Granville’s part, screwed their eyes tight shut and hoped it would work sufficiently well for people not to notice what a colossally idiotic thing it was.
They re-named it Still Open All Hours, a title that demonstrated both the paucity of imagination and the faint air of desperation that clung to the whole thing. I reviewed it here. Nevertheless, it brought in a tidy audience and enough appreciation for the BBC to commission an entire series, to be broadcast ‘later in 2014’.
Now there’s not a lot of 2014 left, so curiosity led me to google the programme and, guess what? The series starts broadcasting on Boxing Day, 364 days after the ‘pilot’. There’s a further episode on December 28, and four more in the New Year, so 2015 is not exactly getting off to the pristine, fresh start we might all like.
I don’t know how well it will go down, but I can say that its audience will be diminished by at least one. I watched the 2013 Xmas Special out of more curiosity than anticipation, but I found it to be as pointless as the idea suggests, and so desperate to recreate the genuine joy of the past that it was prepared to foist artificial- and in the case of Granville’s son, Leroy, horribly cruel – character traits onto characters unsuited to them. So I won’t be watching this year.
But I find it unbearably sad to think that so many people want to watch something as joyless as this, a programme that can only exist by digging up the corpse of Ronnie Barker and violating it in such desperate impersonation. It’s horrible to watch Jason and Clarke prostituting themselves in this manner, even as they doubtless think they are honouring Barker.
I wish I could say that I was surprised that such a sizeable audience actively wanted to watch such hollow, inadequate ‘entertainment’, simply because it reminded them of something infinitely better. Shame on you.
Back at Xmas, when discussing the senseless debacle that was the BBC/Roy Clarke/David Jason’s decision to revive Open All Hours, despite the debilitating absence of the great Ronnie Barker, I confidently and thankfully reported that the BBC had decided, notwithstanding the one-off’s popularity, not to order a series of Still Open All Hours. Unfortunately, whilst researching certain details about Roy Clarke’s career for a near-future blog, I have now discovered that this was wrong: a six part series has been ordered, and will be broadcast later this year.
I was prepared to do it once, out of a slightly less reprehensible kind of the same fascination about disaster that causes people to slow down whilst driving past car crashes, but I have too much respect for myself and the late Mr Barker to connive at the perpetration of atrocities by watching the series.
Look, I am aware that Sir David Jason may be desperate to recreate the days when he was the biggest draw on television, but the incontrovertible facts are that Open All Hours was dependant in every respect on Ronnie Barker, who has been dead and much-missed for nearly ten years, and the only way Still Open All Hours could be made to function was by Jason doing a virtually note-for-note mimickry of Barker. Add to that the obsessive urge to copy a thirty year old programme by introducing the special’s only new character in the form of Granville’s own won, only to have him replicate Granville’s lack of certainty about his father was the act of desperate men prostituting a thing of value for the cheap thrill of recognition again.
And if you, Messrs Clarke and Jason, can’t see the psychological cruelty of shoehorning Granville’s hang-ups about the father whose name he never knew into Granville’s own son and have him express it to his real father, then you are devoid of shame.
That you are prepared to extend this pillage of Ronnie Barker’s grave, and that the BBC are prepared to let you, is more than my gorge can stand, and I predict that the audience will let you know what a stupid idea this is.
To everything there is a a season – several, if it’s good enough. But, unlike the Biblical injunction, the truth of television is that seasons are not cyclical: harvest does not return each year: once the yield is taken, the time is gone and, like our corporeal bodies, does not return.
That doesn’t stop people from attempting to revive things, in the hope that they can be as good as they were remembered to be. Only today there is a piece in the Guardianarguing for the revival of Top of the Pops, in the face of the fact that none of the reasons for its cancellation have gone away, that the worlds of television and music and their respective audiences bear no resemblance to the conditions which saw the programme thrive and that in order to give any revival a chance of succeeding, it would be necessary to destroy absolutely everything about the programme that is recognisable as Top of the Pops.
Bringing back something once popular has been shown, time and time again, to be disastrous. The problem lies in the essential dichotomy between capturing the elements that made the show appealling to begin with – requiring stasis – and the need to present its characters as they are after a period of time – requiring progress. It’s an impossible burden by its very nature, especially if members of the original cast are involved: they have aged, visibly, and in doing so have changed, therefore their characters must have changed also, in the intervening years, yet what is demanded of them is being what they were.
The only truly successful revival (and I discount Doctor Who because, by its very nature, it could reinterpret itself with a wholly new cast) was Dick Clement and Ian La Fresnais’s 1972 sitcom revival, Whatever Happened to the Likely Lads? This was so complete a success because the writers chose to make the five years since the last episode of The Likely Lads into the driving force of the series. Instead of being about the recreation of the beer, booze and birds obsessions of two Sixties’ lads out to enjoy life, the series focussed on the changes in the characters during a five year spell apart, expertly contrasting Bob Ferris’s middle-class absorption into the young executive early Seventies, with Terry Collier’s suspension in time due to his Army service, and his thwarted intent to pick up where he last was, in a world that no longer existed.
And yes, for those who are not familiar with this programme, it was a comedy, and still is very funny indeed.
It was not an approach that was factored into the BBC’s one-off revival of the Ronnie Barker/Roy Clarke sitcom, Open All Hours.
I used to love that programme, and the occasional repeats of it still make me laugh out loud. It tends to be overlooked a little when people discuss the great sitcoms of the past because both its star and its writer were involved in contemporaneous shows that were more popular: Barker as Fletch, in the immortal Porridge, Clarke as creator and sole writer of Last of the Summer Wine (which would go on to become the world’s longest-running sitcom ever).
The show was a quirky three-hander, featuring Barker as Arkwright, the tight-fisted, grasping yet richly-comic small-town corner shop grocer, David Jason, in his first starring role as errand boy Granville, frustrated at all turns, nephew to Arkwright with a dubious father, and Lynda Barron as District Nurse Gladys Emmanuel, living opposite and nominally Arkwright’s fiancee.
Like most of Clarke’s sitcoms, the show developed its own absurd world, revolving primaily around Arkwright and Granville, but punctuated by the regular customers who were the basis of what were virtually mini-sketches as they came and went. The humour primarily in the dialogue, with occasional slapstick, usually relating to Granville on the shop-bike, or Barker with the finger-trapping till, was deftly played. Each episode took place in a day, starting from the opening of the shop before dawn, and Granville’s perenially frustrated attempts to build a relationship with the milkwoman (Barbara Flynn, looking delightful as ever, even if swaddled in coat and woolly hat). It would end with a monologue from Arkwright, nominally about the events of the day, as he brought in the displays from outside.
Open All Hours first appeared as a one-off in the 1973 series, Seven of One, a variation on the BBC’s old Comedy Playhouse format (in which six different comedy pilots would be broadcast, as an audition for series) in that all seven episodes starred Ronnie Barker. Porridge was the ‘winner’ from that run, but in 1976, Barker and Clarke followed up the Arkwright pilot with the first of four series between then and 1985. I believe it was David Jason’s idea, initially, to do a revival as a Christmas special, but that Clarke is very happy to write a full series if this goes down well.
So, how was the revival handled? Well, it certainly wasn’t the worst of such things that I’ve seen. It was even mildly amusing at times, and it certainly attracted the likes of Johnny Vegas and Mark Williams into cameo roles (and Barry of the Chuckle Brothers but let’s say no more about that). What it was, basically, was pointless.
Clarke, Jason and the BBC have chosen not to make any changes whatsoever. Apart, that is, from the most central and inescapable change, namely that the great Ronnie Barker is no longer with us (and would probably have had nothing to do with this if he had been). The show gets around this by turning Granville into Arkwright, a virtual carbon copy. It gets around having to have Jason play Barker by introducing newcomer James Baxter to play Jason: he is introduced as Leroy, Granville’s son, abandoned by his mother as a baby and brought up by his Dad, and all the local women.
Actually, Leroy is not a Granville-clone: not entirely. He has the same worries about who his Dad might have been, but as these are directed at the man who has been his Dad in terms of raising him, and who believes himself to be biologically the father, this introduces a note of psychological depth which is not only alien to the show but also unnecessarily cruel. On the positive side, he’s more popular with the girls than Granville ever was.
Apart from that, it’s all the same. The shop is a bit cleaner and lighter, the sign repainted, the pavement display more extensive, but they’ve still got the till. Former Nurse Gladys Emmanuel still lives opposite (Arkwright never did get round to marrying her). Stephanie Cole reprises her role as Mrs Featherstone, the ‘Black Widow’, looking virtually unchanged (a testament to how well she ‘aged up’ thirty years ago) and Maggie Ollerenshaw returns as the indecisive Mavis, still nursing a mutual crush on Granville but steered even further away from any decision by her widowed sister Madge (played by Brigit Forsyth, the former Thelma of Whatever Happened to the Likely Lads? who really hasn’t aged well at all.)
No Barbara Flynn though. Sigh. And as for the new characters, apart from the introduction of a couple of Pakistani customers, as a gesture to the changing social background of the Doncaster in which the shop is set, not a one of them couldn’t have come out of a thirty year old episode, in word or thought.
But that’s really all there is. Juggle Granville into a near replica Arkwright, introduce a Granville-substitute with nearly all the same hang-ups and don’t change anything from thirty years ago. It gets a mild, nostalgic chuckle, based on the wish that there’d been a few more of them then, in the same way that the debut of NYPD Blue, a vastly inferior copy of Hill Street Blues, immediately reminded you of the absence of anything with the qualities of Hill Street Blues. The outcome could be achieved more effectively, and more economically, by repeating an old episode of Open All Hours.
Still Open All Hours gives its game away in its title. It is firmly rooted in its season which, like all others, has passed, and should be left to be remembered. A series would be a grave mistake.