Book review: Viz: The Jester’s Shoes

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Viz: The Jester’s Shoes. Published: Dennis Publishing

Where would the world be without Viz?

Well, in truth, it wouldn’t actually be very different would it? Most people don’t read it after all even in Britain, let alone the world. Most of you probably aren’t even reading this review. I know I’m not.

But, for those of us, who do, it is a joyous time. For a full 29 years after the release of The Big Pink Stiff One (i.e. the first Viz annual anthology), The Jester’s Shoes (no. I don’t get it either) is out. The cover describes it as “a toe-curling stack of the best bits from issues 242-251”. It is also at 200 pages, the biggest ever anthology of the ADULT COMIC yet.

Yes, just to emphasise this is an ADULT COMIC, just in case the phrase “Big Pink Stiff One” didn’t alert you to the fact. Any children thinking of reading this can piss off.

So what’s happening in this one?

Well, to pick at random, Sid the Sexist falls victim to a stage hypnotist, children’s favourite Hector’s House is subverted into Hector’s Whores (“C’mon Kiki the frog, give the cash to Daddy”), Major Misunderstanding takes exception to the phrase “Winter Wonderland,” The Fat Slags star in On The Game of Thrones and Roger Mellie: The Man on the Telly (who has appeared in every issue of Viz to date) offends Ann Widdecombe by making an obscene suggestion while drunk on the live TV Election Night Special.

There’s also the usual newspaper parodies (“Fuck all on Mars” and “Pope’s Hat ‘Fundamentally Flawed’, Say Scientists”) and the usual fun with regulars Mrs Brady Old Lady, The Bacons, The Real Ale Twats and much much more.

 

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Book review: Only Fools and Stories by David Jason

Only Fools and Stories: From Del Boy to Granville, Pop Larkin to Frost by David Jason (Published by Century)

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In 1980, as he approached his fortieth birthday, David Jason could look back on an enjoyable comedy and acting career. But he had never hit the big time. And there had been plenty of missed opportunities.

For a few joyful hours in the late Sixties, for example, Jason had been briefly cast as Lance Corporal Jones in a new BBC sitcom about the wartime Home Guard called Dad’s Army. Jason, was only in his twenties then, but already had a good reputation for playing old men. Jason’s euphoria at getting the role was short-lived, however. The casting director’s first choice, middle-aged Clive Dunn got back in touch and indicated that, on second thoughts, he wanted the part which would make him a star, after all. Jason was out.

He could also have very easily been a Python, having co-starred with Michael Palin, Eric Idle and Terry Jones in the 1967-1969 comedy sketch Do Not Adjust Your Set. But for whatever reason, Jason didn’t follow these three into the hugely successful Monty Python’s Flying Circus.

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He was, at least, by the end of the Seventies, an experienced and highly recognisable comedy face. He had played the geriatric convict Blanco in the hugely successful prison-based sitcom,  Porridge. Appearing with Ronnie Barker again, Jason had excelled as Granville, the put upon Yorkshire errand boy in Open All Hours. But though now regarded as a classic sitcom (indeed, Jason appears today in its follow-up Still Open All Hours to this day), the Roy Clarke series was very slow to attract a large audience.

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It took Only Fools and Horses to make Jason a star. John Sullivan’s sitcom began in 1981 and like Open All Hours was to be a slow burner, getting what, by 1980s standards were considered low ratings. But the role of wheeler dealing market trader Derek “Del Boy” Trotter (a performance Jason based on a stylishly dressed cockney building contractor he had encountered in the Sixties) was clearly the role he had been born to play. By the end of the decade, the series was one of the most popular in the land.

Although less of a full blown biography than 2013’s book, My Life, this should be enjoyed by all Jason fans featuring countless anecdotes about Jason’s experiences on the show (notably a series of practical jokes carried out with his onscreen brother Nicholas Lyndhurst) as a well as stories about his other later works including A Touch of Frost, The Darling Buds of May and Porterhouse Blue.

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Book review: Little Me. My Life From A-Z. By Matt Lucas

Book review: Little Me. My Life From A-Z. By Matt Lucas. Published by Canongate.

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“He’s a baby! He’s a baby!” These words were sung by Shooting Stars co-host Bob Mortimer just as an unusual looking man dressed in a full-sized pink romper suit homed into view.

This is probably how most of us got our first glimpse of Matt Lucas, then known as “George Dawes” (as in “What are the scores, George Dawes?”) in the anarchic Nineties quiz show Shooting Stars. He was not, of course, a baby, but it is surprising to reflect, just how young he was. Having started performing stand-up in his teens, Lucas was already a semi-experienced performer when he first appeared on the show in 1995. He was barely twenty-one. True stardom was to come with Little Britain alongside his comedy partner David Walliams, some years’ later.

As Lucas admits, he does tend to polarise opinion somewhat. If the sight of his grinning bald face on the front cover already repels you, this book is unlikely to change your mind.

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But Lucas certainly has a story to tell: even before his entry into the comedy world, he had to cope with sudden childhood baldness, parental divorce and family scandal, fluctuating weight and the growing realisation that he was gay. Then, there was the decade-long climb to fame, initially playing the fictional aristocrat Sir Bernard Chumley, his first teenage meeting with Walliams (they bonded by comparing their stock of celebrity impressions), George Dawes, Rock Profiles, Little Britain, Come Fly With Me and ultimately Hollywood.

Fittingly for someone who was recently jumping around in time on Doctor Who, however, Lucas avoids a chronological approach. Each chapter is in alphabetical order by subject, a technique which works very well. The second chapter B, for example, is entitled Baldy! and discusses Lucas’s hair loss while the tenth J, Jewish, discusses his racial and religious heritage. It’s not always as obvious as that however and you’ll have to find our for yourself what the chapters ‘Frankie and Jimmy’ and ‘Accrington Stanley’ are about.

There is also, the tragic end to his relationship with Kevin McGee, his civil partner who committed suicide in 2009, some time after the failure of his relationship with Lucas. Lucas makes no apology for skirting around what clearly remains a very painful subject for him and nor should he have to. When he does occasionally refer to McGee, however, it is always with sensitivity and affection.

Like anyone, Lucas has a love/hate relationship with his own fame. He is perhaps more comfortable in the US where he is better known for his brief appearance in the huge comedy movie hit Bridesmaids opposite Rebel Wilson than for anything else. Indeed, as he himself admits, with the UK version of Little Britain a decade in the past now and the failure of his recent series Pompidou, he is less familiar to younger viewers now than he once was. Indeed, of the two Little Britain stars David Walliams is by far the better known member of the duo now.

Despite this, it is hard to imagine the man who created The Only Gay In The Village or George and Marjorie Dawes, ever disappearing quietly from our screens anytime soon.

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Book review: How To Be Champion by Sarah Millican

how-to-be-champion.jpgBook review: How To Be Champion by Sarah Millican: My Autobiography. Published by: Trapeze.

There is undoubtedly something very likeable about Sarah Millican. As with Jimmy Carr, she is blessed with an uncanny ability to switch from being sweet one moment to filthy the next. This tendency is certainly deployed to good effect in this autobiography.

On the other hand, despite being probably the most successful female stand-up in the UK, she retains a down to earth ordinary quality which Carr and most other comedians lack. Millican would doubtless be embarrassed by the comparison, but it is something she has in common with the late Victoria Wood.

It is undoubtedly a result of her background. In her early forties now, South Shields born Millican lived a relatively normal university-free existence for years, only turning to stand-up comedy as a means of coping with the collapse of her first marriage in her late twenties. Success came fairly quickly and she won the Edinburgh Best Newcomer award in 2008 beating off competition from the likes of Jon Richardson, Micky Flanagan and Zoe Lyons. Since her the success of her 2012 BBC TV series, The Sarah Millican Television Programme she has been unstoppable. She is now married to comic Gary Delaney (a regular on Mock The Week).

This is a funny, occasionally moving book perhaps slightly let down by its adoption of the overused self-help book format, a technique currently deployed seemingly by every comedy autobiography under the sun. Millican is very open about her difficulties with the harsher side of fame, refreshingly honest about her total lack of desire to ever have children and is clearly achingly vulnerable to the slings and arrows of often misogynistic abuse frequently directed at her by critics on Twitter and elsewhere. She quotes a breathtakingly rude Telegraph review of her 2013 Who Do You Think You Are? appearance by Christopher Howse (who she doesn’t name although I am happy to) in full. Referring to her “piping Geordie voice and dumpy frame,” it is less a piece of journalism, than a sustained and wholly unwarranted personal attack. Howse should be utterly ashamed of himself.

However, this is generally a light, enjoyable read from one of Britain’s comedy national treasures.

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Book review: Things Can Only Get Worse? by John O’Farrell

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Things Can Only Get Worse? Twenty Confusing Years In The Life Of A Labour Supporter by John O’Farrell, Published by: Doubleday

In 1998, John O’Farrell published, Things Can Only Get Better: Eighteen Miserable Years in the Life of a Labour Supporter, 1979-1997. It was an enjoyable and genuinely funny political memoir of O’Farrell’s life from his teenage defeat as Labour candidate in his school’s 1979 mock election to the happy ending of the New Labour landslide in 1997. Eighteen years is a long time: by 1997, O’Farrell was well into his thirties, balding, married with children and thanks to his work on the likes of Spitting Image and Radio 4’s Weekending, an established comedy writer.

The book was a big hit. But now twenty years have passed again since Blair’s first big win. The story of the two decades since as covered  in this sequel is rather more complex.

On the one hand, New Labour won yet another landslide in 2001 and a third big win in 2005. The Tories have never really recovered from their 1997 trouncing, winning a  majority in only one of the last six General Elections and even then a very small one (in 2015). And as O’Farrell says, things undeniably got better under Labour, with the government “writing off the debt of the world’s poorest countries…transforming the NHS by trebling health spending and massively reducing waiting lists…the minimum wage, and pensioners getting free TV licences and the winter fuel allowance…peace in Northern Ireland… equality for the gay community…all the new schools…free entry to museums and galleries…” The list goes on (and on).

John O'Farrell, Labour's prospective parliamentary candidate for Eastleigh

On the other hand, as O’Farrell admits, there are certainly grounds for pessimism too. O’Farrell often felt conflicted defending the Blair Government as a Guardian columnist in the early 2000s particularly after the build-up to the Iraq War. He had a bit of a laugh campaigning as the Labour candidate for the hopelessly Tory seat of Maidenhead in the 2001 second Labour landslide election running against a notably unimpressive Opposition frontbencher called Theresa May. But the disintegration of Labour under first Gordon Brown and then Ed Miliband was hardly a joy to behold, either for him or anyone else who backed Labour. O’Farrell’s candidature in the 2013 Eastleigh by-election in which he came fourth, was less fun too with the Tory tabloids attacking him by using out of context quotes from his first book. By 2016, with O’Farrell despairing after a year of Jeremy Corbyn’s leadership, the Brexit result and the election of Donald Trump, the celebrations of victory night in May 1997 start to seem like a very long time ago indeed.

Thankfully, O’Farrell is always a funny writer, remaining upbeat even when for others, things would only get bitter.

After all, even at their worst, Labour have never been as bad as the Tories. Yes, the Tories: a party who supported the Iraq War far more enthusiastically than Labour did (and indeed, whose support ensured it happened), a party who fiercely upheld Labour’s spending plans in the early 2000s at the time (rightly) only to attack them endlessly (and wrongly) later, a party whose membership enthusiastically chose Jeffery Archer as its choice for London mayor in 2000 and Iain Duncan Smith as their party leader in 2001. The Conservatives were, are and will always be “the Silly Party.”

This is an excellent book. And thanks to Theresa May’s calamitous General Election miscalculation, it even has a happy ending.

Sort of.

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Book review: How Not To Be A Boy by Robert Webb

How Not To Be A Boy by Robert Webb (Published by: Canongate)

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It’s probably more than a decade now since most of us became familiar with the comedy actor Robert Webb.

As Jez, the more laid-back but less responsible half of the flat-share arrangement in Channel 4’s longest running sitcom Peep Show between 2003 until 2015, he was the perfect foil to David Mitchell’s more intelligent but thoroughly anal Mark Corrigan. Although brilliant, Peep Show was never a ratings success. It did, however, lead directly to the sketch show The Mitchell and Webb Look which, though patchy as many such shows are, pushed the duo into the mainstream.

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Webb’s career is obviously linked to Mitchell’s: the two met at Cambridge in the Nineties and are currently appearing together again in Simon Blackwell’s aptly named comedy, Back. A straight comparison of the two men’s careers has led many to assume Webb is the lesser talent of the two. Mitchell has been a prolific columnist and clearly has a massive aptitude for comedy panel shows. Aside from his spectacular victory in the 2009 Let’s Dance for Comic Relief and his early performance in the TV series The Smoking Room, most of Webb’s biggest successes have been with Mitchell.

But any lingering doubts anyone might have about Webb’s talent should be vanquished by a reading of this genuinely funny and touching memoir. The title might seem to count against it: the “how to” prefix has been overused in comedy books in recent years (How Not To Grow Up by Richard Herring, How To Build A Girl by Caitlin Moran, How To Be A Grown-Up by Daisy Buchanan, How To Be A Bawse by Lily Singh and the forthcoming How To Be Champion by Sarah Milican) but in fairness to Webb, the title is pretty essential to the book’s structure. The seemingly well-worn “having an imaginary conversation with one’s younger self” device, previously deployed by Miranda Hart, amongst others, is also used well here.

The book is boosted by Webb’s vivid recollections of his painful teenage years, doubtless helped by his enjoyably pretentious diaries (“Is there any romance greater than the one a teenage boy has with his own loneliness?”) which he bravely reproduces fragments from here. He is also refreshingly open about his drinking problems and his early experiments with homosexuality.

But as with Hugh Laurie who, likewise, has always been in danger of being overshadowed by his brilliant co-star, this book serves as a valuable reminder that Robert Webb is a major talent in his own right.

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Book review: A Very Courageous Decision. The Inside Story of Yes Minister, by Graham McCann

Published by: Aurum Press.

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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 role as the amiable but henpecked Jerry in The Good Life, the name was changed to remove any association being made between what would turn out to be the two most famous roles of his life.

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 makes no reference to) 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 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: 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 (as 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, they didn’t change the world that much.

There are unfortunately constraints on just how much sitcoms can really do. Just as there are with ministers.

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Book review: Monty Python’s Hidden Treasures by Adrian Besley

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Published by: Carlton Books
It is a sad fact that the world today can be divided into two groups. Those who, like me, will always be amused by the likes of the Dirty Fork Sketch (punchline: “A good job I didn’t tell them about the dirty knife as well!”), the Upper Class Twit of the Year contest (“Nigel Incubator-Jones. His best friend is a tree. Works as a stockbroker in his spare time”), the quiz show Blackmail, the Ministry of Silly Walks, the Funniest Joke in the World and, of course, the Dead Parrot Sketch.

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Then there are those, perhaps a majority now sadly, for whom the humour of Monty Python’s Flying Circus will always be a mystery. Like The Goon Show which is now largely incomprehensible to anyone born after 1960, MPFC is increasingly dated.
Disparate members of the first group even those like me who were born after the series finished are thus forced to eternally roam the land muttering catchphrases (“nudge nudge, wink wink, likes photography? I bet she does! I bet she does!”) which are totally incomprehensible to the second group and trying to convince them it was funny.
In truth, although patchy as all TV sketch shows are, it really was often very funny. The cause was helped by the films too, particularly the Life of Brian, which have by and large aged better than the series.
This book attempts to bridge the gap still further with (if I may quote from the press release) “22 removable facsimiles of rare memorabilia from their official archives, including hand-scribbled scripts, cue sheets, character lists, posters, and animation artwork”. If the aim is to introduce the uninitiated to the ways of Python, I’m not sure it succeeds. Would anyone who didn’t know the series well buy it anyway? I doubt it.
But for any Python fans out there, this is a lovely book and a beautifully crafted treat for them.
And let’s not forget the Spanish Inquisition. Nobody expects…oh bugger.

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DVD review: Inside No. 9 – Series Three

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Cert: 18. BBC Worldwide

Steve Pemberton, Reece Shearsmith, Philip Glenister, Keeley Hawes, Tamzin Outhwaite, Peter Kay

Continuing in the richly darkly comic vein of the previous two series, onetime League of Gentlemen Steve Pemberton and Reece Shearsmith write and perform in six more one off stories, all linked by the fact that they involve the number nine.

For the 2016 Christmas special The Devil At Christmas, we join the Devonshire family (including Pemberton, plus his pregnant wife played by Jessica Raine and mother-in-law Rula Lenska) as they embark on an alpine holiday in 1970s Austria. Ingeniously, the episode is presented in the form of a 1970s film apparently being accompanied by a DVD audio commentary supplied by the production’s director (voiced by Derek Jacobi). There’s thus more than a shade of Acorn Antiques or perhaps Garth Marenghi’s Darkplace as continuity errors within the slightly shoddily made film within the film abound. But this not detract from an undeniably dark undercurrent. As local guide Klaus (Shearsmith) tells of the legend of Krampus (a sort of demonic anti-Santa), it becomes apparent something very sinister is going on both within the film but also behind the scenes. Ironically, this episode also comes with its own audio commentary on this actual DVD.

The second episode, The Bill deals with a perhaps more familiar setting as a group of businessmen including two played by Philip Glenister and Jason Watkins, meet for dinner. Matters escalate dramatically and alarmingly during negotiations over payment of the bill at the end of the night.

Series Two’s third episode The 12 Days of Christine starring Sheridan Smith was the standout episode and the same may well be true of The Riddle of the Sphinx in Series Three. Both terrifically clever and ultimately quite horrific, the story sees Pemberton playing a legendary puzzle compiler known as “the Sphinx” tutoring a wayward student (Alexandra Roach) who has broken into his quarters in the ways of the cryptic crossword. Like most such crosswords, nothing is quite what it first appears to be.

Empty Orchestra is, of course, as cryptic crossword fans will know, the literal meaning of the Japanese word karaoke. Set at a somewhat turbulent office party situated in a karaoke bar, the increasingly acrimonious mood amongst the work mates, all under threat of redundancy, is cleverly matched by the selection of songs.

To say the penultimate episode of the series Diddle Diddle Dumpling dealing with a husband (Shearsmith’s) obsession with a stray number nine shoe which he has found, is the weakest of these six episodes is no insult. The standard is very high.

Finally, Private View set in a sinister art exhibition features the distinguished likes of Morgana Robinson and Felicity Kendall, plus a bizarre cameo from Peter Kay. It combines horror and comedy just as brilliantly as Series Two’s finale Séance Time did and satisfactorily brings to an end another superb series.

 

Book review: Viz Annual 2017 The Bookie’s Pencil

Viz has been available nationwide for well over thirty years now, but let’s assume, for the sake of argument, that you’ve never heard of it, as surprisingly, many people haven’t. The first thing to emphasise is that this is anthology based on an adult comic and so not suitable for children. Or, for that matter, prudish or sensitive adults.

Once upon a time, Viz annuals were called things like “The Big Pink Stiff One”. This one is called “The Bookie’s Pencil,” a euphemism which I’ve never heard anyone use. Can we conclude from this that Viz has grown more subtle over the years?

No, it hasn’t.

The formula has remained largely unchanged. Comic regulars include:

Roger Mellie: The Man on the Telly:  A TV presenter who is notoriously foul mouthed when off air (and sometimes when on).

Spawny Get: A character whose luck varies dramatically from frame to frame, usually ending with him implausibly having sex with a large number of attractive women.

The Fat Slags: Two promiscuous overweight Geordie girls.

Spoilt Bastard: Almost self explanatory. A git who bullies his pathetic elderly mother into getting whatever he wants. This is generally one of the cleaner stories as is Mrs Brady, Old Lady, a geriatric who complains that no one will give up their seat for her on the bus and thus stands throughout even though the bus is virtually empty.

Often it is the newspaper, Top Tips and Letterbocks pages which provide the highlights.

In short, enter if you dare. A lack of squeamishness and an understanding of the traditions  of British comics and north-eastern regional dialects will all prove an advantage.

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