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Classic UK TV
The Great British Sitcom
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<blockquote data-quote="Mel O&#039;Drama" data-source="post: 96955" data-attributes="member: 23"><p>My endearment for <em>Father, Dear Father </em>increases further with each passing episode. There's a feeling of quality without pretension. It all looks so simple and easy, but I'm chortling loudly throughout entire episodes. Each character is likeable and funny and the guest-stars all fit in really well. Recurring guests such as Donald Sinden and Tony Britten as well as one-offs like Leslie Phillips show the calibre of person good writing attracts.</p><p></p><p>After six full series, the chemistry is still there. If anything it gets better. Semi-regulars such as Patrick's mother, ex-wife Barbara, Barbara's husband Bill and agent Georgie are all still in place (albeit the latter two having been carefully recast over the years), adding a feeling of stability.</p><p></p><p>With Series Six there's been a bit of a change of tone. The opening credits are more prosaic than comedic, and it's a bit strange waiting for a punchline or physical comedy moment that doesn't come. I think only one episode had opening credits with a comedy "story" where they were writing a name on a boat which ended up upside down. The good news with the sixth series credits is that semi-regulars, when they appear, have been included in the sequences. It's good to see them interacting this way and getting their due credit.</p><p></p><p>This year has seen the introduction of a wonderfully sparky rivarly between Barbara and Georgie who exchange barbed comments while smiling politely at each other. This gives us thoroughly enjoyable lines such as "You look so well. I wouldn't have recognised you... if it wasn't for the dress".</p><p></p><p>In the last couple of series, Nanny has clicked with me. Earlier on, Nöel Dyson's reserved manner has at times seemed almost too polite for a sitcom, but that doesn't feel the case anymore. Whether it's me getting a grasp on the character, the writers playing to Dyson's strengths or Dyson herself taking a slightly different approach it's hard to say. Perhaps it's a bit of all of these. In more recent episode, Nanny's ingenuous nature and deadpan delivery (innocent almost to the point of being glazed over and switched off entirely) has put me in mind of Wendy Craig as Ria in <em>Butterflies</em>.</p><p></p><p>An ongoing storyline over the last half of Series Six has seen the introduction of Tim Tanner - a photographer who has fallen for Patrick's elder daughter Anna. It sounds incredibly rushed to consider that he was introduced in one episode, proposed in the next and was Patrick's son-in-law in the one after that. But the writing has made it all feel natural and unforced and it helps immensely that Jeremy Child is endearing as Tim and gels very well with the ensemble. The sixth series ended with the announcement that the place Anna and Tim were planning to move into had fallen through, letting us know that Anna's going nowhere and Tim will more than likely be joining the ensemble for the final series. Which is a change I'll welcome.</p></blockquote><p></p>
[QUOTE="Mel O'Drama, post: 96955, member: 23"] My endearment for [I]Father, Dear Father [/I]increases further with each passing episode. There's a feeling of quality without pretension. It all looks so simple and easy, but I'm chortling loudly throughout entire episodes. Each character is likeable and funny and the guest-stars all fit in really well. Recurring guests such as Donald Sinden and Tony Britten as well as one-offs like Leslie Phillips show the calibre of person good writing attracts. After six full series, the chemistry is still there. If anything it gets better. Semi-regulars such as Patrick's mother, ex-wife Barbara, Barbara's husband Bill and agent Georgie are all still in place (albeit the latter two having been carefully recast over the years), adding a feeling of stability. With Series Six there's been a bit of a change of tone. The opening credits are more prosaic than comedic, and it's a bit strange waiting for a punchline or physical comedy moment that doesn't come. I think only one episode had opening credits with a comedy "story" where they were writing a name on a boat which ended up upside down. The good news with the sixth series credits is that semi-regulars, when they appear, have been included in the sequences. It's good to see them interacting this way and getting their due credit. This year has seen the introduction of a wonderfully sparky rivarly between Barbara and Georgie who exchange barbed comments while smiling politely at each other. This gives us thoroughly enjoyable lines such as "You look so well. I wouldn't have recognised you... if it wasn't for the dress". In the last couple of series, Nanny has clicked with me. Earlier on, Nöel Dyson's reserved manner has at times seemed almost too polite for a sitcom, but that doesn't feel the case anymore. Whether it's me getting a grasp on the character, the writers playing to Dyson's strengths or Dyson herself taking a slightly different approach it's hard to say. Perhaps it's a bit of all of these. In more recent episode, Nanny's ingenuous nature and deadpan delivery (innocent almost to the point of being glazed over and switched off entirely) has put me in mind of Wendy Craig as Ria in [I]Butterflies[/I]. An ongoing storyline over the last half of Series Six has seen the introduction of Tim Tanner - a photographer who has fallen for Patrick's elder daughter Anna. It sounds incredibly rushed to consider that he was introduced in one episode, proposed in the next and was Patrick's son-in-law in the one after that. But the writing has made it all feel natural and unforced and it helps immensely that Jeremy Child is endearing as Tim and gels very well with the ensemble. The sixth series ended with the announcement that the place Anna and Tim were planning to move into had fallen through, letting us know that Anna's going nowhere and Tim will more than likely be joining the ensemble for the final series. Which is a change I'll welcome. [/QUOTE]
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