How about characters we dislike...or just cannot "connect" with ???????

captain clutterbuck said:
... but I think it was clouded by the fact the early series were blighted by the characters shouting at each other so as time has gone on, that dislike has dissipated.
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Amen. I think a lot of that was due to the filming ambiance (soap opera-like), and the microphone technology of the time. Maybe lines didn't pick up unless they yelled. Dunno.
 
I watched the pilot again this week, and for the first time, really enjoyed it. Except - I've never been keen on Blamire, however I now realise why this might be.
Who says (unless Roy Clarke has actually said it) that all the characters have to be likeable? One of the driving factors in comedy and drama is conflict, and how it is dealt with. It is not unusual to have "unpleasant" characters in tv and films.
Blamire had grown up with Clegg and Compo, his and Clegg's family might have had more financial stability than Compo's, but they were together when scabby knees were part of the school uniform. Blamire developed his airs and graces and now berates Compo, despite his disadvantaged start in life. So Blamire is a definitive counterpoint to Compo, and has character traits that make him less likable.
Incidentally, I really like the way Roy Clarke wrote Compo so that he often took no notice of Blamire, and didn't let the arrogant sniping diminish his playful childishness.
 
theatrically_inclined said:
I watched the pilot again this week, and for the first time, really enjoyed it. Except - I've never been keen on Blamire, however I now realise why this might be.
Who says (unless Roy Clarke has actually said it) that all the characters have to be likeable? One of the driving factors in comedy and drama is conflict, and how it is dealt with. It is not unusual to have "unpleasant" characters in tv and films.
Blamire had grown up with Clegg and Compo, his and Clegg's family might have had more financial stability than Compo's, but they were together when scabby knees were part of the school uniform. Blamire developed his airs and graces and now berates Compo, despite his disadvantaged start in life. So Blamire is a definitive counterpoint to Compo, and has character traits that make him less likable.
Incidentally, I really like the way Roy Clarke wrote Compo so that he often took no notice of Blamire, and didn't let the arrogant sniping diminish his playful childishness.
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What saves Blamire is that here and there he shows he's actually fond of Compo. They argue but they both enjoy it, something that they admit. Compo even admits that when Blamire leaves and before Foggy is introduced.
 
Sarkus said:
What saves Blamire is that here and there he shows he's actually fond of Compo. They argue but they both enjoy it, something that they admit. Compo even admits that when Blamire leaves and before Foggy is introduced.
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Both Blamire and Foggy mentioned at times their attempt to "improve" Compo (not in those exact words). Seymour may have done that to a degree. They all liked Compo, but just were interested in making him more "proper."
 
theatrically_inclined said:
I watched the pilot again this week, and for the first time, really enjoyed it. Except - I've never been keen on Blamire, however I now realise why this might be.
Who says (unless Roy Clarke has actually said it) that all the characters have to be likeable? One of the driving factors in comedy and drama is conflict, and how it is dealt with. It is not unusual to have "unpleasant" characters in tv and films.
Blamire had grown up with Clegg and Compo, his and Clegg's family might have had more financial stability than Compo's, but they were together when scabby knees were part of the school uniform. Blamire developed his airs and graces and now berates Compo, despite his disadvantaged start in life. So Blamire is a definitive counterpoint to Compo, and has character traits that make him less likable.
Incidentally, I really like the way Roy Clarke wrote Compo so that he often took no notice of Blamire, and didn't let the arrogant sniping diminish his playful childishness.
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There is a bittersweet scene at the end of Northern Flying Circus (actually Michael Bates' final scene in LOTSW), when Blamire and Compo fall out.

Blamire storms off. Compo tells Clegg he hates Blamire. Clegg tells Compo that he doesn't really. Compo reflects on all the fags he gives him.

Then Blamire returns, says 'Come on then', and normality is restored and all is forgiven.

No one knew Michael Bates would be leaving, but it's a lovely scene, and sums up not only the whole show, but all relationships in real life.

An often overlooked piece of writing by Roy Clarke, and as it happens, not a bad ending to Series Two and Michael Bates.
 
wstol said:
There is a bittersweet scene at the end of Northern Flying Circus (actually Michael Bates' final scene in LOTSW), when Blamire and Compo fall out.

Blamire storms off. Compo tells Clegg he hates Blamire. Clegg tells Compo that he doesn't really. Compo reflects on all the fags he gives him.

Then Blamire returns, says 'Come on then', and normality is restored and all is forgiven.

No one knew Michael Bates would be leaving, but it's a lovely scene, and sums up not only the whole show, but all relationships in real life.

An often overlooked piece of writing by Roy Clarke, and as it happens, not a bad ending to Series Two and Michael Bates.
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I think the final episodes of both the first two series have subtle "goodbye" elements to them because Clarke didn't know if the show would go on. So he makes sure to leave us knowing that the trio are just fine. Series one ends with "Hail Smiling Morn . . . ", which ends with them talking about what they are going to do the rest of the day, for example.
 
Don said:
I never cared for Billy Ingleton. Norman Wisdom just seems that he is trying too hard for the laugh. Reminds me a lot of Jim Carrey. Their humor doesn't feel spontaneous but more forced and it takes me completely out of the moment.
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I take your point there.

In real life, in his much later years, he could make an absolute nuisance of himself, trying to get a laugh.

He even overstepped the mark pestering The Queen - something which no one is allowed to do.

I liked the reaction of Peter Sallis, who reportedly dealt with the situation whilst filming LOTSW frequently with 'Shut up, Norman'.

I don't know how true that is, but it's funny.

I don't think it would have worked with Norman Wisdom as a regular in the show - he's just too famous.
 
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