One Foot in the Grave, TV, Writing

TV Review: ONE FOOT IN THE GRAVE – ‘The Eternal Quadrangle’ (1×05)

Sex, and particularly sexual frustration, have always been key factors to One Foot in the Grave, and they get their first airing in The Eternal Quadrangle.

Thus far in the series, David Renwick has downplayed the side of Victor and Margaret that serves as a romantic pairing. We know they have been married for decades and are middle-aged and content in their domesticity. We don’t yet know they lost a child when young but we have assumed they are childless, given there is no mention, let alone visibility, of any offspring. What we don’t really know is how they engage with one another on a sexual or romantic level, and The Eternal Quadrangle poses a question that numerous future series of One Foot will regularly grapple with – do Victor and Margaret still engage with each other in a sexual manner? The answer, in short, is no. Or if they do, it is very seldom.

What becomes clear in The Eternal Quadrangle, too, is that Margaret has a much bigger issue where this is concerned than Victor himself does. Renwick doesn’t yet quite position her as deeply sexually frustrated, which becomes apparent in later series, but there is a disquiet where Margaret is concerned about how Victor deals with any woman she considers a threat, sexually, to her position as his wife. She never meets Doreen, the stately, middle-aged but slightly voluptuous nude model Victor paints at an art class, but especially early on in the episode she is especially jealous of her. “Did you have to draw her breasts in quite this much detail?” she asks, Annette Crosbie chewing the word ‘breasts’ around her mouth before spitting it out with a bitter distaste.

In the end, however, Renwick is keen with The Eternal Quadrangle to suggest, in their own different ways, Victor and Margaret have become as sexually anaemic, and as sexually oblivious, as each other.

Continue reading “TV Review: ONE FOOT IN THE GRAVE – ‘The Eternal Quadrangle’ (1×05)”

One Foot in the Grave, TV, Writing

ONE FOOT IN THE GRAVE – ‘The Eternal Quadrangle’ (1×05 – Series Retrospective #5)

30 years old in 2020, I’m going to look at David Renwick’s unique British sitcom One Foot in the Grave to celebrate the anniversary of one of the UK’s most innovative comedy series of all time…

We continue by looking at the fifth episode of the first series, The Eternal Quadrangle, which first aired on February 1st, 1990…

Sex, and particularly sexual frustration, have always been key factors to One Foot in the Grave, and they get their first airing in The Eternal Quadrangle.

Thus far in the series, David Renwick has downplayed the side of Victor and Margaret that serves as a romantic pairing. We know they have been married for decades and are middle-aged and content in their domesticity. We don’t yet know they lost a child when young but we have assumed they are childless, given there is no mention, let alone visibility, of any offspring. What we don’t really know is how they engage with one another on a sexual or romantic level, and The Eternal Quadrangle poses a question that numerous future series of One Foot will regularly grapple with – do Victor and Margaret still engage with each other in a sexual manner? The answer, in short, is no. Or if they do, it is very seldom.

What becomes clear in The Eternal Quadrangle, too, is that Margaret has a much bigger issue where this is concerned than Victor himself does. Renwick doesn’t yet quite position her as deeply sexually frustrated, which becomes apparent in later series, but there is a disquiet where Margaret is concerned about how Victor deals with any woman she considers a threat, sexually, to her position as his wife. She never meets Doreen, the stately, middle-aged but slightly voluptuous nude model Victor paints at an art class, but especially early on in the episode she is especially jealous of her. “Did you have to draw her breasts in quite this much detail?” she asks, Annette Crosbie chewing the word ‘breasts’ around her mouth before spitting it out with a bitter distaste.

In the end, however, Renwick is keen with The Eternal Quadrangle to suggest, in their own different ways, Victor and Margaret have become as sexually anaemic, and as sexually oblivious, as each other.

Continue reading “ONE FOOT IN THE GRAVE – ‘The Eternal Quadrangle’ (1×05 – Series Retrospective #5)”

One Foot in the Grave, TV, Writing

ONE FOOT IN THE GRAVE – ‘I’ll Retire to Bedlam’ (1×04 – Series Retrospective #4)

30 years old in 2020, I’m going to look at David Renwick’s unique British sitcom One Foot in the Grave to celebrate the anniversary of one of the UK’s most innovative comedy series of all time…

We continue by looking at the fourth episode of the first series, I’ll Retire to Bedlam, which first aired on January 25, 1990…

The first season of One Foot in the Grave has been marked, thus far, on particular existential anxieties about British life for the aged and retired, and I’ll Retire to Bedlam continues Victor Meldrew’s slide into reactive frustration.

In another historical allusion to 19th century literature, David Renwick titles this episode after Charles Dickens’ A Christmas Carol, and the belief from perhaps the most iconic curmudgeon of them all, Ebernezer Scrooge, that the inmates at St Mary’s of Bethlehem hospital (known colloquially as ‘Bedlam’) were more sane compatriots than everyone else in London merrily celebrating Christmas. It would be easy to liken Victor to a Scrooge figure but it’s inaccurate, aside from their grumpy disposition. Scrooge actively hated the people around him until the ghosts of multiple eras showed him the error of his ways. Victor’s ire is for the continued degradation and decay of society, and that becomes more apparent as Renwick here commits him to hospital for stress.

There is, in Mr Brocklebank, the escaped mental patient who, believing he’s a nurse preparing him for surgery, Victor allows to shave his entire private parts (in what is arguably the funniest sequence in the episode, and perhaps the funniest in One Foot so far), an allusion to the idea of ‘Bedlam’, of the lunatics running the asylum; and indeed in the inclusion of the Monster Raving Loony Party as part of the story, Renwick provides an additional layer of fringe thinking, of society’s rejects or eccentrics intruding into the Meldrew’s life, but the chief anxiety of I’ll Retire to Bedlam is more generalised than fears of death or youth culture or corporate hegemony. Everything is getting to Victor in this episode. The less he has anything to focus on, the more he sees everything.

That’s quite a profound realisation One Foot is getting to during Series 1. I’ll Retire to Bedlam may be a little unfocused and unformed, structurally, but it gets to the nub of Victor Meldrew’s existential malady very well.

Continue reading “ONE FOOT IN THE GRAVE – ‘I’ll Retire to Bedlam’ (1×04 – Series Retrospective #4)”

One Foot in the Grave, TV, Writing

TV Review: ONE FOOT IN THE GRAVE – ‘I’ll Retire to Bedlam’ (1×04)

The first season of One Foot in the Grave has been marked, thus far, on particular existential anxieties about British life for the aged and retired, and I’ll Retire to Bedlam continues Victor Meldrew’s slide into reactive frustration.

In another historical allusion to 19th century literature, David Renwick titles this episode after Charles Dickens’ A Christmas Carol, and the belief from perhaps the most iconic curmudgeon of them all, Ebernezer Scrooge, that the inmates at St Mary’s of Bethlehem hospital (known colloquially as ‘Bedlam’) were more sane compatriots than everyone else in London merrily celebrating Christmas. It would be easy to liken Victor to a Scrooge figure but it’s inaccurate, aside from their grumpy disposition. Scrooge actively hated the people around him until the ghosts of multiple eras showed him the error of his ways. Victor’s ire is for the continued degradation and decay of society, and that becomes more apparent as Renwick here commits him to hospital for stress.

There is, in Mr Brocklebank, the escaped mental patient who, believing he’s a nurse preparing him for surgery, Victor allows to shave his entire private parts (in what is arguably the funniest sequence in the episode, and perhaps the funniest in One Foot so far), an allusion to the idea of ‘Bedlam’, of the lunatics running the asylum; and indeed in the inclusion of the Monster Raving Loony Party as part of the story, Renwick provides an additional layer of fringe thinking, of society’s rejects or eccentrics intruding into the Meldrew’s life, but the chief anxiety of I’ll Retire to Bedlam is more generalised than fears of death or youth culture or corporate hegemony. Everything is getting to Victor in this episode. The less he has anything to focus on, the more he sees everything.

That’s quite a profound realisation One Foot is getting to during Series 1. I’ll Retire to Bedlam may be a little unfocused and unformed, structurally, but it gets to the nub of Victor Meldrew’s existential malady very well.

Continue reading “TV Review: ONE FOOT IN THE GRAVE – ‘I’ll Retire to Bedlam’ (1×04)”

One Foot in the Grave, TV, Writing

ONE FOOT IN THE GRAVE – ‘The Valley of Fear’ (1×03 – Series Retrospective #3)

30 years old in 2020, I’m going to look at David Renwick’s unique British sitcom One Foot in the Grave to celebrate the anniversary of one of the UK’s most innovative comedy series of all time…

We continue by looking at the third episode of the first series, The Valley of Fear, which first aired on January 18, 1990…

Thus far, One Foot in the Grave has portrayed a dim view of British society at large through the prism of Victor Meldrew, and The Valley of Fear continues that trend.

Alive and Buried saw Victor the victim of a heartless corporate machine, replacing human capital with technological without so much as a second thought for what it might do to the self-esteem of a long-term, loyal employee. The Big Sleep sees Victor frustrated by boorish neighbours who think nothing of playing loud music and throwing garbage over the fence into his garden. The Valley of Fear compounds these societal problems that Victor faces by having him, off-screen before the episode begins, mugged by a gang of youths who steal his jacket and daub rude graffiti on the side of his house. David Renwick expressly tackles very present anxieties for the elderly when it comes to youth culture or youth subculture, but ends up inverting them for comic effect, and perhaps to make a wider sociological point.

Outside of this, The Valley of Fear sees Renwick starting to construct elements of the more labyrinthian plotting we will see refined in later seasons, particularly with the central gag involving sweet, kindly old Mrs Birkitt being unintentionally locked away in the Meldrew’s loft overnight as Renwick stitches together a confluence of plotlines including a radiator making a recurring tapping noise and community attempts to assemble a neighbourhood watch group, all of which climax in Victor’s realisation he has become the one-man gang he has been so afraid of. One Foot’s comedy is almost entirely built on misunderstanding inflected with hints of horror and moments that are just plain uncanny – the sideboard everyone can smell but Victor until the end, when the gag is reversed, is one of those unexplained One Foot mysteries designed for another purpose.

The result of this is that you can continue to see One Foot’s comedic elements slowly coming together in The Valley of Fear, even if it lacks the initial strength of the opener and the pathos of its immediate predecessor.

Continue reading “ONE FOOT IN THE GRAVE – ‘The Valley of Fear’ (1×03 – Series Retrospective #3)”

One Foot in the Grave, TV, Writing

TV Review: ONE FOOT IN THE GRAVE – ‘The Valley of Fear’ (1×03)

Thus far, One Foot in the Grave has portrayed a dim view of British society at large through the prism of Victor Meldrew, and The Valley of Fear continues that trend.

Alive and Buried saw Victor the victim of a heartless corporate machine, replacing human capital with technological without so much as a second thought for what it might do to the self-esteem of a long-term, loyal employee. The Big Sleep sees Victor frustrated by boorish neighbours who think nothing of playing loud music and throwing garbage over the fence into his garden. The Valley of Fear compounds these societal problems that Victor faces by having him, off-screen before the episode begins, mugged by a gang of youths who steal his jacket and daub rude graffiti on the side of his house. David Renwick expressly tackles very present anxieties for the elderly when it comes to youth culture or youth subculture, but ends up inverting them for comic effect, and perhaps to make a wider sociological point.

Outside of this, The Valley of Fear sees Renwick starting to construct elements of the more labyrinthian plotting we will see refined in later seasons, particularly with the central gag involving sweet, kindly old Mrs Birkitt being unintentionally locked away in the Meldrew’s loft overnight as Renwick stitches together a confluence of plotlines including a radiator making a recurring tapping noise and community attempts to assemble a neighbourhood watch group, all of which climax in Victor’s realisation he has become the one-man gang he has been so afraid of. One Foot’s comedy is almost entirely built on misunderstanding inflected with hints of horror and moments that are just plain uncanny – the sideboard everyone can smell but Victor until the end, when the gag is reversed, is one of those unexplained One Foot mysteries designed for another purpose.

The result of this is that you can continue to see One Foot’s comedic elements slowly coming together in The Valley of Fear, even if it lacks the initial strength of the opener and the pathos of its immediate predecessor.

Continue reading “TV Review: ONE FOOT IN THE GRAVE – ‘The Valley of Fear’ (1×03)”

One Foot in the Grave, TV, Writing

ONE FOOT IN THE GRAVE – ‘Alive and Buried’ (1×01 – Series Retrospective #1)

30 years old in 2020, I’m going to look at David Renwick’s unique British sitcom One Foot in the Grave to celebrate the anniversary of one of the UK’s most innovative comedy series of all time…

To begin, we look at the pilot episode of Series 1 where it all began, Alive and Buried, which first aired on January 4th, 1990…

There have been hundreds of successful situation comedies on British television in the last sixty years, but few of them have the nuance, grace and intelligence of One Foot in the Grave.

Devised by writer David Renwick, the series revolved around Victor Meldrew, a cantankerous Scot living somewhere in England’s Home Counties with his, as oft-quoted, ‘long-suffering’ wife Margaret. As played expertly by Richard Wilson and Annette Crosbie, the Meldrew’s frequently found themselves in an array of unusual, eccentric and downright bizarre comic situations in otherwise dull 90’s British suburbia, as Renwick’s tightly constructed scripts saw Victor, thrown unceremoniously on the scrap heap after losing his job in opening episode Alive and Buried, face enforced retirement and his own mortality with growing frustration at society around him, which would frequently manifest in irascible rants that would include what became his catchphrase, and one of the signature comic lines in British comedy history: “I don’t *believe* it!”.

Alive and Buried establishes the concept in clear and concise fashion. Victor is retired by the company he has worked at for 26 years, finds himself listlessly wandering around the house while Margaret goes to work, facing constant reminders of his pensionable age everywhere he turns, and being irritated by the cruel happenstances of fate which conspire against him in everything from broken down cars to magic acts. Yet, as with most pilot episodes, particularly with comedies, the mixture isn’t yet refined. There is a broadness about Alive and Buried that later One Foot episodes swop for naturalistic eccentricity, playing on Wilson’s talent for silent or physical comedy. The essential formula is present and correct but the rhythm and cadence that makes Renwick’s series stand out hasn’t quite clicked yet.

That said, Alive and Buried is among the better first episodes of British comedy series. One Foot in the Grave already knows what it wants to be, even if it isn’t quite there yet.

Continue reading “ONE FOOT IN THE GRAVE – ‘Alive and Buried’ (1×01 – Series Retrospective #1)”

One Foot in the Grave, TV, Writing

TV Review: ONE FOOT IN THE GRAVE – ‘Alive and Buried’ (1×01)

There have been hundreds of successful situation comedies on British television in the last sixty years, but few of them have the nuance, grace and intelligence of One Foot in the Grave.

Devised by writer David Renwick, the series revolved around Victor Meldrew, a cantankerous Scot living somewhere in England’s Home Counties with his, as oft-quoted, ‘long-suffering’ wife Margaret. As played expertly by Richard Wilson and Annette Crosbie, the Meldrew’s frequently found themselves in an array of unusual, eccentric and downright bizarre comic situations in otherwise dull 90’s British suburbia, as Renwick’s tightly constructed scripts saw Victor, thrown unceremoniously on the scrap heap after losing his job in opening episode Alive and Buried, face enforced retirement and his own mortality with growing frustration at society around him, which would frequently manifest in irascible rants that would include what became his catchphrase, and one of the signature comic lines in British comedy history: “I don’t *believe* it!”.

Alive and Buried establishes the concept in clear and concise fashion. Victor is retired by the company he has worked at for 26 years, finds himself listlessly wandering around the house while Margaret goes to work, facing constant reminders of his pensionable age everywhere he turns, and being irritated by the cruel happenstances of fate which conspire against him in everything from broken down cars to magic acts. Yet, as with most pilot episodes, particularly with comedies, the mixture isn’t yet refined. There is a broadness about Alive and Buried that later One Foot episodes swop for naturalistic eccentricity, playing on Wilson’s talent for silent or physical comedy. The essential formula is present and correct but the rhythm and cadence that makes Renwick’s series stand out hasn’t quite clicked yet.

That said, Alive and Buried is among the better first episodes of British comedy series. One Foot in the Grave already knows what it wants to be, even if it isn’t quite there yet.

Continue reading “TV Review: ONE FOOT IN THE GRAVE – ‘Alive and Buried’ (1×01)”