The Great British Sitcom: Fawlty Towers

[Crimson]

For me it generally feels middling. It's Fawlty Towers so it's going to be good, but I've never felt this one to be peak Fawlty.

One great advantage of watching this show with no foreknowledge is not having any preconceived notions of which episodes are well regarded by the fans or even on this discussion. To me, this seems like the most intricately plotted episode so far -- a web of lies, every detail of which pays off by the end. This is also a rare instance of Basil getting away with something, although presumably not so much once he let Sybil out of the cupboard.

With Sybil largely absent from the central parts of the episode it's in some ways not a perfectly balanced ensemble episode.

It's true this isn't one of the episodes where the quartet is used equally, but Sybil being off screen in a huff is essential to the plot. Basil, Polly and Manuel all had such great comedic moments that I wasn't going to quibble about Sybil's screentime having to be sacrificed for the plot.

I've seen him in some other things and he usually bears the Friar Tuck with sideburns look that balding men typically wore during the era, but I'd say the combover was definitely for comic effect.

Certainly not the only actor of the era to use a bad combover for comedic effect -- Zero Mostel in THE PRODUCERS springs to mind -- but still curious to me. Men who were self-conscious enough about balding to have a combover but also willing to mock their own hairstyle; an odd mixture of vanity and self-deprecation. The nature of being an actor, I suppose.

 

[Mel O'Drama]

One great advantage of watching this show with no foreknowledge is not having any preconceived notions of which episodes are well regarded by the fans or even on this discussion.

And that lack of foreknowledge of expectation is what's making this a delight to follow. In an ideal world, everyone would be able to enjoy any experience without knowing what to expect, but that's increasingly difficult with reviews and online spoilers and - in the case of a 51 year old series which is so well-known - some form of osmosis.

Basil, Polly and Manuel all had such great comedic moments that I wasn't going to quibble about Sybil's screentime having to be sacrificed for the plot.

Glad to hear it.

 

[Crimson]

And we conclude with the 12th episode, "Basil the Rat". While I don't expect this will make it into my top 5 and I didn't find it among the funniest episodes, I do think perhaps it's the most quintessential FAWLTY TOWERS. All of the elements of the show are firmly in place here. Each of the four leads are vital to the plot and have moments of comedy. Even the secondary characters of Terry, the Major and the old ladies have their moments. The plot follows the now familar structure of a mundane situation being complicated, resulting in escalating confusion and chaos.

Although Fawlty Towers was obviously shabby, the condition of the kitchen was unexpectedly deplorable. Watching pieces of veal fall on the floor, partially eaten by a cat, possibly poisoned, retrieved from the garbage -- well, I've always been a bit skeptical about how food is handled in the back of kitchens and this did nothing to soothe my paranoia.

I was relieved that the cat and the rat were both handled delicately. Old time productions were not always scrupulous in avoiding animal cruelty. I liked that were wasn't clarity about whether Manuel named his rat Basil as a sign of endearment or loathing for Mr Fawlty.

With only 12 episodes and given the flinty nature of the comedy, I hadn't expected the final episode to be any kind of conclusion or finale. With few exceptions, I prefer that approach for ending shows; life goes on, we are just no longer privy to watching the misadventures.

I will ponder the series for a day or two prior to sharing my final ranking and postscript thoughts.

 

[Mel O'Drama]

And we conclude with the 12th episode, "Basil the Rat".

It's come round too quickly in many ways, but it's exciting to think you've now completely watched the series beginning to end.

I've always been a bit skeptical about how food is handled in the back of kitchens and this did nothing to soothe my paranoia.

Same here. Some of those scenes make for uncomfortable viewing.

I liked that were wasn't clarity about whether Manuel named his rat Basil as a sign of endearment or loathing for Mr Fawlty.

Given Manuel's affection for his "Siberian Hamster" I lean towards the former. Either that or he acquired the pet at a time when he had just arrived and it was the only British name he knew.

With only 12 episodes and given the flinty nature of the comedy, I hadn't expected the final episode to be any kind of conclusion or finale.

It's pretty typical of British sitcoms - especially in this era - to simply end without any kind of acknowledgement. There are some exceptions, but most tend to be of the "life goes on" variety.

I will ponder the series for a day or two prior to sharing my final ranking and postscript thoughts.

I'm looking forward to this.

 

[Crimson]

I'm very confident in the top 3 and bottom 3. The 6 in the middle I could shuffle around but this seems about right to me.

1. Communication Problems
2. Gourmet Night
3. Waldorf Salad
4. The Hotel Inspectors
5. The Kipper and the Corpse
6. The Anniversary
7. Basil the Rat
8. The Wedding Party
9. The Builders
10. A Touch of Class
11. The Germans
12. The Psychiatrist

Postscript thoughts and questions

A minor technical observation, but the show did a good job with its shot on location scenes. I often find the shift between filmed on a studio set and filmed on location scenes to be jarring; lighting and tone often don't match and audio seems out of sync. I didn't find the FT location scenes to be mismatched to the overall look of the show.

Overall, I think I favored S2 where the elements of the show clicked into place. But, also, my least favorite episode is from S2 while my second favorite is from S1, so there wasn't a huge difference in quality between the two seasons.

The show will certainly make its way into my rotation of classic sitcoms; with so few episodes, it will be a nice little option to slip in between viewings of longer running shows.

Surprisingly, I found the low episode count to be satisfying. Each episode had a specificity to it. Even the best of shows with more episodes tend to run into repetition and redundancy of plots. Not that I wouldn't want some more episodes, though. I think the premise and cast could have easily gone on for another 6 to 12 episodes without a risk of staleness.

I know the first season was a middling success and the second season delayed by the divorce of Cleese and Booth. Why wasn't there a third season? Was the second season also not particularly well received at the time, or did Cleese and Booth find it too hard continue working together?

Re: the comment above about Cleese threatening a long delayed third season / reboot ... that seemed like a poor idea at first but now that I know Prunella Scales is deceased, it seems like an abysmal idea. But I doubt there's any risk. A few years back, I was surprised that George Hamilton was still talking about a sequel to LOVE AT FIRST BITE (1979). "Who the heck is asking for a sequel to a minor hit from four decades ago?" No one. I think projects like this are just small talk for actors in interviews and Hollywood parties. "Oh the script is coming along nicely but we haven't found the right director yet ..."

As an American who knows little about British TV, I would assume FAWLTY TOWERS is one of, if not the, greatest of British sitcoms. Is that how it's regarded, or as more of a cult classic? I will circle back to @Mel O'Drama comments on the show later this week as my closure of FT.

Between FT and AFCW, Cleese is responsible for 2 of my favorite comedies. But ... is that it? Excluding Monty Python (and perhaps I'll give those movies a go), did he produce any other well regarded sitcoms or movies?

I've enjoyed the exploration of British TV and plan to continue, although next up will be a classic drama (I, CLAUDIUS -- on my "to watch" list forever). When I circle back to sitcoms, I am open to suggestions. I'd be hard pressed to name more than a couple British comedies. BLACK ADDER intrigues me, although I admit I find Rowan Atkinson's countenance to be unnerving. I generally prefer classic American sitcoms from the 50s through the 80s, but don't know if that would hold for British shows. It's probably best to avoid those UK shows that have famous American remakes; I don't think I could see past Carroll O'Conner, Red Foxx, John Ritter, etc. (I haven't seen the US version of THE OFFICE, so that's a possibility).

 

[Mel O'Drama]

I'm very confident in the top 3 and bottom 3. The 6 in the middle I could shuffle around but this seems about right to me.

1. Communication Problems
2. Gourmet Night
3. Waldorf Salad
4. The Hotel Inspectors
5. The Kipper and the Corpse
6. The Anniversary
7. Basil the Rat
8. The Wedding Party
9. The Builders
10. A Touch of Class
11. The Germans
12. The Psychiatrist

Excellent stuff.

I won't post my own list because it's been a good few years since I last watched, but from memory and discussion coming out of your viewing my ranking would align fairly closely with yours. Waldorf Salad and The Anniversary would be lower down the list, while The Germans and The Psychiatrist would be higher (but still not Top Three). It would also be very close indeed between Communication Problems, Gourmet Night and The Hotel Inspectors.

As you've pointed out, even the lowliest-ranked episode would still be worth a rewatch.

The show will certainly make its way into my rotation of classic sitcoms; with so few episodes, it will be a nice little option to slip in between viewings of longer running shows.

That's great and I'm sure you may spot new little details as you watch them the second time around (third or fourth in some cases).

Surprisingly, I found the low episode count to be satisfying. Each episode had a specificity to it. Even the best of shows with more episodes tend to run into repetition and redundancy of plots.

I generally equate brevity with a purer end product. Almost any longer-running series has filler or recycled material somewhere along the way.

I know the first season was a middling success and the second season delayed by the divorce of Cleese and Booth. Why wasn't there a third season? Was the second season also not particularly well received at the time, or did Cleese and Booth find it too hard continue working together?

The official line has generally been that it was a deliberate choice to ensure it didn't get into the repetition and redundancy of plots you mentioned. I would say both Cleese and Booth genuinely felt this way, even if it wasn't the sole reason.

From what I've read, Connie Booth is considered to be a key factor in the decision. More specifically, her unavailability or unwillingness to revisit it. She had been very reluctant to do the second series and while she continued to act, Fawlty was the last time she would write for TV or film.

Re: the comment above about Cleese threatening a long delayed third season / reboot ... that seemed like a poor idea at first but now that I know Prunella Scales is deceased, it seems like an abysmal idea.

Yes. She and Andew Sachs have died and Connie Booth is highly unlikely to do it (and if she did, would we really want to see an 85 year old Polly still working for Fawlty).

I vaguely recall an interview with Cleese saying it was going to be Basil running a different hotel (possibly in America) with his daughter. For me that just feels like a different animal.

I pray you're right about this being all talk, and I suspect Cleese knows deep down that such an endeavour risks diluting - and tarnishing - the series as a whole.

As an American who knows little about British TV, I would assume FAWLTY TOWERS is one of, if not the, greatest of British sitcoms. Is that how it's regarded, or as more of a cult classic?

The former, for sure. It's widely recognised as the gold standard of British sitcoms.

I will circle back to @Mel O'Drama comments on the show later this week as my closure of FT.

It's good to know there's a little Fawlty still to come.

Between FT and AFCW, Cleese is responsible for 2 of my favorite comedies. But ... is that it? Excluding Monty Python (and perhaps I'll give those movies a go), did he produce any other well regarded sitcoms or movies?

Clockwise (1987)is on my viewing bucket list and seems to be fairly well-regarded. In the US it seemed to be viewed as too niche and "British", so had a restricted release and performed badly. I'm not sure if this is a reflection on the film's quality, but I like what I've seen of it from clips, and it has a good cast (recognisable from the British TV and film landscape, anyway).

I've enjoyed the exploration of British TV and plan to continue, although next up will be a classic drama (I, CLAUDIUS -- on my "to watch" list forever).

This is one I've never watched, so I'll be curious to read some of your views on this for different reasons.

BLACK ADDER intrigues me, although I admit I find Rowan Atkinson's countenance to be unnerving.

I think I understand this, but of course I don't know your experience/association when it comes to Atkinson's work. Mr. Bean certainly does a lot of gurning.

Based on your comment, you may find the first six episodes a trudge (the first year is generally considered the weakest in most regards). I actually really dislike his characterisation in S1, but there is a significant shift and improvement for S2.

I have a strange relationship with Blackadder. It's not exactly love/hate, but I rarely feel any desire to watch (probably in part because I'm not a major fan of period stuff). Whenever I do watch, though, I invariably find myself thinking that it's funnier and better than memory tells me.

When I circle back to sitcoms, I am open to suggestions. I'd be hard pressed to name more than a couple British comedies.

I generally prefer classic American sitcoms from the 50s through the 80s, but don't know if that would hold for British shows.

From my experience, American mid-century sitcoms have dated better than British ones. Of the ones that haven't been wiped, many British sitcoms from the Fifties and Sixties look very old and are pretty slow.

A few have sprung to mind, but I will have a think about others:


The Good Life
(1975-78, 30 episodes)
US title: Good Neighbors
I'm sure @Daniel Avery will back this one. I'd describe it as gentle-but-grounded.



To The Manor Born
(1979-1981, 21 episodes)
Another gentle one. No really outrageous situations, and probably more of a feelgood factor than belly laughs, but it has a nice story and regularly topped the ratings here when it first aired.



One Foot In The Grave
(1990-2000, 42 episodes)
The setting and tone are very different to Fawlty, but it has a similarly grouchy central character who regularly finds himself in outlandish situations, often through misunderstandings. There is one element of the series that you may find off-putting, but it's not something I can say more about without spoiling the journey. Still, for my money, this regularly delivers some very big laughs if you don't mind your comedy with a little grit.



Oh, I'll also throw in...


Father, Dear Father
(1968-73, 45 episodes)
While not the kind of series to make it on to most "best/most memorable/most iconic British sitcom" lists, I include this on the basis that its writer/creators who would go on to create Man About The House (which in turn became Three's Company) so may feel just familiar enough without inviting direct comparison.




There are other sitcoms I consider either good or at least favourites of mine which I'd hesitate to recommend for various reasons. Dinnerladies is a great workplace sitcom with only a handful of episodes a great cast and some great dialogue, but may be one to save for a bit of a deeper dive due to the regional accents, the fast delivery and a good number of British cultural references. Open All Hours also has regional accents (albeit delivered more clearly than those in Dinnerladies) and I do wonder if you may find it a little too formulaic. Keeping Up Appearances seems to go down well with American viewers, but you may find the central character's sometimes shrill voice a little too Naugatuck-esque (like Open All Hours, which has the same writer, it's also quite formulaic and revels in the anticipation of certain running gags). Since you're considering Blackadder, there is also The Vicar Of Dibley also by Richard Curtis.

 

[Mel O'Drama]

t's probably best to avoid those UK shows that have famous American remakes

One Foot In The Grave
(1990-2000, 42 episodes)

Oh wait....

I've just found out that the 1996 series Cosby was based on this. I don't know if the adaption is considered "famous" or is even one you've watched, but I guess either may take OFITG out of the running.