the Compo passing away trilogy

[Philosopher Clegg]

I have been on Summer Wine forums for years now. I asked this question a few times to the experts, but now we seem to have new, highly knowledgable members, so I will ask this again. I always thought it was a buit unusual how Surprise at Throstlesness ended with the close up of Reggie. I could never find any signifigance behind that. It always struck me at different.

Not sure whether there is significance in that other than for years she would have been the secret "other woman" that Compo had a relationship with. The fact the others knew nothing of this would have meant that she had never met any of his friends. In death this would have been the first time that she had probably met those close to Compo. The close up could be interpreted as a reflection of this as that would have been the first time that she had met those that Compo had perhaps talked about with some affection.

It was as much a surprise to the viewers as it was to the other characters, and it was probably meant to have exactly that impact. It fit for me because it confirmed what I had always believed - that Compo's pursuit of Nora was just a game he played for his own amusement. Not even Wally took it seriously, and I never thought that it was because he was too phlegmatic or indifferent to react. Compo's pursuit just seemed too over the top to be real, even for a comedy show.

Marianna

Accept that there were many episodes where Compo was annoyed and depressed at the thought of Nora being with or seeing someone else. There were also many less over the top moments when Compo talked about Nora in a way that the others couldn't understand the attraction.

Reggie came out of left field and I still think it was an attempt to show Compo as a bit of a rascal, after all it was only, his "Thursdays". Reggie herself said that she could never get him away from someone else, Nora. I think by limiting it to Thursday the impression is still given of devotion to Nora, but that Compo was never likely to be the type of man to sit on the sidelines and wait years for something that was never likely to happen. Equally, Compo was never likely to get serious with anyone else.

The attraction for Reggie is somewhat obscure, I couldn't see why she would put up with years of "Thursdays" from someone who might at best be described as a bit of rough for her, but for the purpose of the trilogy it was presented as genuine affection. Difficult to know why she would be attracted to him, unless when they first met Compo had smartened himself up. We are lead to believe that it had been going on for years, however unlikely that may seem.

 

[Marianna]

... Accept that there were many episodes where Compo was annoyed and depressed at the thought of Nora being with or seeing someone else. There were also many less over the top moments when Compo talked about Nora in a way that the others couldn't understand the attraction.

I didn't interpret any of those as a bit more serious than the slapstick moments.

... an attempt to show Compo as a bit of a rascal, after all it was only, his "Thursdays".

That attempt backfired badly in my case. The Reggie episode made me see an unsuspected dimension in Compo.

Reggie herself said that she could never get him away from someone else, Nora. I think by limiting it to Thursday the impression is still given of devotion to Nora, but that Compo was never likely to be the type of man to sit on the sidelines and wait years for something that was never likely to happen. Equally, Compo was never likely to get serious with anyone else.

Compo didn't impress me as someone who would ever settle down. Remember in Some Enchanted Evening when Wally temporarily left, just needing a break, and Compo made a big show of courting Nora, knowing that Wally would be back, cleaning up himself and his place? When Wally told Clegg and Blamire that he was coming back, they went straight to Compo and told him that Wally had said that he was leaving permanently. Compo panicked and abruptly reverted to normal to put Nora off. This is not the behavior of a serious swain!

The attraction for Reggie is somewhat obscure, I couldn't see why she would put up with years of "Thursdays" from someone who might at best be described as a bit of rough for her, but for the purpose of the trilogy it was presented as genuine affection. Difficult to know why she would be attracted to him, unless when they first met Compo had smartened himself up. We are lead to believe that it had been going on for years, however unlikely that may seem.

The attraction between some couples of my acquaintance is a deep, dark mystery! Some fictional attractions are just as mysterious. We have no idea how Compo presented himself on Thursdays. Perhaps I projected myself on Reggie's character, but she impressed me as a very self-sufficient person, who would be unlikely to relinquish any of that self-sufficiency for a permanent relationship. The only thing that didn't ring true for me was Reggie sounding regretful that she could never entice him away from his "other woman".

Marianna

 

[Adanor]

Although I'm constantly going through the series, I don't always watch this series and the episodes that deal with Compo's death. Mainly because I get too emotional! Seeing Bill Owen in the poor condition he was is depressing, and I tend to get distracted by the obvious changes they made to make the episodes work after his death. At any rate, I did watch the series over the last few days and came away thinking that "Elegy" on its own very probably would have been enough as a goodbye to Compo. Its not that I don't like the other two episodes (and I still cry at the end of "Just a Small Funeral"), just that I don't think they add a whole lot to the catharsis the audience needed. "Elegy" covers all the bases by itself - Compo's death, the immediate reaction of the characters, and a chance to say goodbye. Introducing Reggie in "Surprise" and having the actual funeral in the third episode don't seem necessary, IMHO.

Of course then I watched the last four episodes that introduce Tom and continue to think they are largely a mistake. I still wonder how the show survived that since by all accounts it went over very badly with the audience. Neither of the books I have on the show really explain how and why the BBC decided to keep the show going after Bill Owen's death, even though both suggest it was up in the air for a time.

I agree about Tom. Watching From Here to Paternity is very, very painful. They should have had Tom arrive in an old banger with no girlfriend, girlfriend's daughter, or dog puppet. They should have made him someone who was basically honest in nature instead of being a money grubber. Compo may have been hard up for cash, but he never tried to defraud anyone. I agree that they could have made Tom the manager of the Auntie Wainwright's junkyard and kept him as a background character who is gradually (after audience reactions) brought into a more significant role.

 

[Marianna]

I agree about Tom.

I agree. I didn't think the character was right for the series or believable for Compo's son, even though Compo had had no influence in his upbringing. And he wasn't a likeable character in his own right, either. The episodes starting with From Here to Paternity are very difficult to watch.

Unfortunately, the seasons in which his character is downplayed have not yet been issued on DVDs, so I have yet to see them. I prefer not to watch on YouTube because although my hearing aids help, they aren't perfect, and I have some difficulty understanding the actors' attempts at the regional accent as well, so I really need the captions.

Marianna

 

[Elmc]

ALL valid points regarding the three episodes and Tom. I, too, found Tom's character very unlikable. True, he shouldn't have been made to look like a grifter. Must confess that in "Who's Minding The Café" I didn't like it that Compo swiped the money for that man's 'lunch". Other than that, he never did anything really illegal. Did he? Welllllll, a bit of rabbiting or is it poaching? But still, I wanted to be well rid of Tom. As to the three episodes, I think the producers felt they had to do something 'more' for a sendoff in light of who it was. What a great character they created. I watch it every day.

 

[Elmc]

I agree. I didn't think the character was right for the series or believable for Compo's son, even though Compo had had no influence in his upbringing. And he wasn't a likeable character in his own right, either. The episodes starting with From Here to Paternity are very difficult to watch.

Unfortunately, the seasons in which his character is downplayed have not yet been issued on DVDs, so I have yet to see them. I prefer not to watch on YouTube because although my hearing aids help, they aren't perfect, and I have some difficulty understanding the actors' attempts at the regional accent as well, so I really need the captions.

Marianna

Marianna, I have the captions on also. In the beginning I couldn't catch everything they were saying. You see, I am a Yank, lol. But as it went on I noticed the most ridiculous mistakes the 'transcriber' would make. Have you seen any? Or maybe your edition is put out by some other company than mine. As a for instance, in "Ferret Come Home" Nora says to Wally something like, "Is that all you say to someone who insults your wife?" Wally replies that he can only wonder at the quirkness of his taste. But in the caption they typed QUAINTNESS. (sigh)

 

[Marianna]

But as it went on I noticed the most ridiculous mistakes the 'transcriber' would make. Have you seen any? Or maybe your edition is put out by some other company than mine. As a for instance, in "Ferret Come Home" Nora says to Wally something like, "Is that all you say to someone who insults your wife?" Wally replies that he can only wonder at the quirkness of his taste. But in the caption they typed QUAINTNESS. (sigh)

If I noticed that one, it didn't stick with me. I'm a Yank, too, so I'm watching the "Vintage ...." DVDs. Now I'll have to take another look at that episode!

I'd give a lot for a high-quality "official" DVD of the pilot as well as re-issues of the first two seasons CAPTIONED. I invested in the paperback book of the scripts for those episodes, and it was worth every penny, but I'd rather have the dialog on the screen. As I've followed the dialog in the book, though, I've noticed that the actors occasionally ad-libbed a word here and there.

Marianna

 

[Elmc]

Oh, yes, I miss all the Blamire episodes not being captioned.
By the way, this is off the topic, but I must ask the experts something. Why is it that when someone says ' that was a one of ' they spell it off? I have noticed it in other British writings with nothing to do with Yorkshire. And, Marianna, just noticed you are in upstate New York. I am downstate ( all the way ). By the Throggs Neck Bridge.

 

[Marianna]

"One of" vs. "one-off"

Why is it that when someone says ' that was a one of ' they spell it off?

Are they saying "of" or are the actually saying "off"? If the latter, they mean "a one-off" - a one-time event or effort, not intended ever to be repeated. If it's the former, the transcriber must be mis-hearing the word.

You could be further downstate, but not very much further. Could be the eastern tip of Long Island. By road across northern New Jersey and up through Pennsylvania, I'm 268 miles from you, but still less than halfway across the southern boundary of the state.

Marianna

 

[Elmc]

Are they saying "of" or are the actually saying "off"? If the latter, they mean "a one-off" - a one-time event or effort, not intended ever to be repeated. If it's the former, the transcriber must be mis-hearing the word.

You could be further downstate, but not very much further. Could be the eastern tip of Long Island. By road across northern New Jersey and up through Pennsylvania, I'm 268 miles from you, but still less than halfway across the southern boundary of the state.

Marianna

Well, that's what I mean it makes no sense. You can be one off the mark, meaning nearly had it . . but that is never how it is used. It is always one of . . meaning won't happen again, but it is always spelled with 2 f's. I am as confused as Nora and Compo's windows.

 

[Marianna]

Well, that's what I mean it makes no sense. You can be one off the mark, meaning nearly had it . . but that is never how it is used. It is always one of . . meaning won't happen again, but it is always spelled with 2 f's. I am as confused as Nora and Compo's windows.

If the entire phrase is something like "one of a kind", with the word in question pronounced "uhv" rather than "awff", the transcriber must be getting it wrong. Pardon my attempts to show pronunciation phonetically. I don't know IPA, so this is the best I can do.

Marianna

 

[Sarkus]

Reggie came out of left field and I still think it was an attempt to show Compo as a bit of a rascal, after all it was only, his "Thursdays". Reggie herself said that she could never get him away from someone else, Nora. I think by limiting it to Thursday the impression is still given of devotion to Nora, but that Compo was never likely to be the type of man to sit on the sidelines and wait years for something that was never likely to happen. Equally, Compo was never likely to get serious with anyone else.

The attraction for Reggie is somewhat obscure, I couldn't see why she would put up with years of "Thursdays" from someone who might at best be described as a bit of rough for her, but for the purpose of the trilogy it was presented as genuine affection. Difficult to know why she would be attracted to him, unless when they first met Compo had smartened himself up. We are lead to believe that it had been going on for years, however unlikely that may seem.

If the "Thursdays" thing had been set-up for years it would have worked better, IMHO. But as far as I know it didn't exist until one or two mentions in the episodes prior to the passing away trilogy. And from what I've read, I'm pretty sure those references were not even performed by Bill Owen. I know one of them is actually a double walking away and mentioning that its Thursday, where they used someone else to dub the voice.

That's what I mean about that episode being unnecessary. You take "Surprise at Throstleness" out and I don't think it changes a thing, which means it didn't need to be there in the first place. The only explanation I can think of is that they wanted to seperate the emotional episodes of "Elegy" and "A Small Funeral" with something more light hearted to give the audience a break.

 

[Big Unc]

By the way, this is off the topic, but I must ask the experts something. Why is it that when someone says ' that was a one of ' they spell it off? I have noticed it in other British writings with nothing to do with Yorkshire.

Just noted this discussion. In this particular instance where it was first raised, 'off' is categorically correct. See: http://www.oxforddictionaries.com/definition/english/one-off

In a somewhat subtle way there is a difference between a 'one-off' and 'one of a kind', the former being somewhat more emphatic and having a greater uniqueness.

 

[brendalovescompo]

I agree with Philosopher Clegg that Reggie added a bit of confusion.




Surprise at Throstlesness ended with the close up of Reggie. I could never find any signifigance behind that. It always struck me at different.

Agree, agree. Just a thought on that, It put a twist in, but I was wondering if maybe the writers were throwing that in as maybe fishing to see if that could be a future story line. Possible.