Two truly great British sitcoms appeared in the Eighties. Blackadder began in 1983, getting into its stride two years’ later. But the first, Yes, Minister, had began almost at the very start of the decade in February 1980, having been postponed for a year after industrial action had prevented its broadcast in early 1979. Yes, Minister would thus appear on screen under Margaret Thatcher but it had been conceived under her predecessor, Jim Callaghan.
It didn’t matter. The greatest political comedy of the Thatcher era was in fact non-partisan. Jim Hacker, though a “Jim” who eventually became Prime Minister was not supposed to be Callaghan. Indeed, he wasn’t originally even supposed to be a Jim. Creators Antony Jay and Jonathan Lynn had planned the series around a Gerry Hacker who is elevated to the Ministry of Administrative Affairs. When Paul Eddington, best known for his recent…
Two truly great British sitcoms appeared in the Eighties.
Blackadder began in 1983, getting into its stride two years’ later. But the first, Yes, Minister, had began almost at the very start of the decade in February 1980, having been postponed for a year after industrial action had prevented its broadcast in early 1979. Yes, Minister would thus appear on screen under Margaret Thatcher but it had been conceived under her predecessor, Jim Callaghan.
It didn’t matter. The greatest political comedy of the Thatcher era was non-partisan. Jim Hacker, though a “Jim” who eventually became Prime Minister was not supposed to be Callaghan. Indeed, he wasn’t originally even supposed to be a ‘Jim’. Creators Antony Jay and Jonathan Lynn had planned the series around a ‘Gerry Hacker’ MP’ who is elevated to the Ministry of Administrative Affairs. When Paul Eddington, best known for his recent role as the amiable but henpecked Jerry in The Good Life was cast, the name was changed to remove any association being made between what would turn out to be the two most famous roles of the actor’s career.
The casting turned out to be a masterstroke but it was the writing that provided Yes, Minister and Yes, Prime Minister with its backbone. Antony Jay (an older man and a Tory who died in 2016) and Jonathan Lynn (a left of centre figure, still in his thirties when the show began) wisely decided to make their minister’s party affiliations unclear. There were occasional references to contemporary politics. For example, Sir Humphrey refers to a potential triumph for Hacker: “this could be your Falkland Islands,” although on a different occasion criticises another suggestion as “a Bennite solution.” In another episode, they also meet a London “loony left” councillor called Ben Stanley (“that odious troglodyte with the wispy moustache. The press hate him”). In reality, the moustached left-winger Ken Livingstone led the Greater London Council at the time. The name “Ben” does sound a lot like “Ken”. While the missionary David LIVINGSTONE famously met the explorer Henry STANLEY. So is Stanley, supposed to be Livingstone? I think we can presume so.
That said, such references (which McCann doesn’t mention in this book) are rare. The story was really about the battle between transient “here today, gone tomorrow” politicians in government and their battles with the mandarins of the civil servant personified by Sir Humphrey Appleby (Nigel Hawthorne) who basically seek to obstruct everything and prevent any real change from ever occurring.
The series had surprisingly few teething problems other than the initial selection of an unsuitable director for the pilot episode. Eddington, a wartime conscientious objector and leftist political animal was initially keen on the role of Humphrey, recognising the part had the best lines. Thankfully, he was persuaded instead that he was perfect for the role of the initially well-meaning but increasingly cynical Hacker.
Hawthorne, brilliant as Sir Humphrey, became famous for his part in exchanges like this one from the first episode:
Hacker: Who else is in this department? Sir Humphrey: Well briefly, sir, I am the Permanent Under Secretary of State, known as the Permanent Secretary. Woolley here is your Principal Private Secretary. I too have a Principal Private Secretary and he is the Principal Private Secretary to the Permanent Secretary. Directly responsible to me are ten Deputy Secretaries, 87 Under Secretaries and 219 Assistant Secretaries. Directly responsible to the Principal Private Secretaries are plain Private Secretaries, and the Prime Minister will be appointing two Parliamentary Under-Secretaries and you will be appointing your own Parliamentary Private Secretary. Hacker (slightly taken aback): Can they all type? Sir Humphrey: None of us can type. Mrs Mackay types: she’s the secretary.
The South African born Hawthorne reportedly lacked confidence perhaps stemming from a fear of his homosexuality becoming public. This eventually happened, much to his annoyance, at the time of his Oscar nomination for The Madness of King George in 1995. A less political man than Eddington, he was reportedly occasionally irritated by the latter’s supreme confidence.
The trio was completed by Derek Fowlds as Sir Bernard. A man until then, best known for co-starring with Basil Brush, Fowlds, the only one of the three still alive, comes across as a man refreshingly lacking in vanity.
Veteran comedy writer Graham McCann does a good job of detailing the history of the two series here. He goes too far in rating the series’ wider significance however : “Government in those days (1980), was rather like a tree falling in a forest with no one there to witness it,” he says. This is largely still true. Great as Yes, Minister and Yes, Prime Minister were, they didn’t change the world all that much.
There are unfortunately constraints on just how much sitcoms can really do. Just as there are with ministers.
Ghost in the Shell is out now on Digital Download.
Directed by: Rupert Sanders
Stars: Scarlett Johansson, Michael Carmen Pitt, Pilou Asbaek, Chin Han, Juliette Binoche
First, the good news: in 2017, for the first time ever a superhero film starring a genuine actual woman person proved a big hit at the box office.
However, it wasn’t Ghost in the Shell. It was Wonder Woman.
The mystery, of course, is not so much why this happened but why this hadn’t happened before. There are a few possible explanations:
Explanation 1: Cinema audiences are all similar in character to Donald Trump. They claim to like women but secretly fear and despise them (even the ones who are female themselves): Happily, FALSE. Resident Evil, Underworld, Tomb Raider and other female-led non-superhero films have done well with audiences after all. As did Wonder Woman…
Explanation 2: No one outside the Geekzone knew about characters like Elektra, Aeon Flux, Catwoman and the franchise Ghost in the Shell. Everyone knows Wonder Woman: Probably TRUE, yes. Except in the case of Catwoman, who everyone knew but which was truly dreadful.
Explanation 3: That’s just it! Wonder Woman was actually good. All those other films were bad! Surprisingly, this is generally TRUE too (although Ghost in the Shell, as we shall see, isn’t bad). But why should this be…?
Explanation 4: Women are just bad at playing superheroes. FALSE! Garner, Theron, Johansson were and are all good actresses. It’s not just Gil Gadot, great as she is.
Explanation 5: Filmmakers really haven’t got the knack of making superhero films for women until now. Oddly, this is more likely to be the explanation than anything else.
Perhaps I am wrong to group Ghost In The Shell alongside these other films. It is arguably a different kettle of fish. It is science fiction, a direct remake of the Japanese anime which is in fact one of the most successful animes there has ever been. it’s Blade Runner type setting is reasonably visually impressive and the film is certainly action packed. Johansson is fine as the synthetic human who has been transformed into an anti-terrorist operative although it is difficult to reject the widespread criticism that an Asian actress would have been more suitable for the part.
Ghost In The Shell is never awful but it isn’t especially original, lacks a sense of humour and is sometimes quite boring. Great films do sometimes fail at the box office. This did fail but ultimately really isn’t great.