What an excellent time for BBC One to broadcast an episode of ‘Allo ‘Allo. True, it was done in tribute to Gorden Kaye who died on Monday, but it feels like this was a good week to laugh at some Nazis.
However, you know me by now. Ignore the laughter, or moral truths, we all know why we’re really here. “Oh, I wonder whether there have been any edits made to the show…” And blow my chickens up, there has been. To clarify then, here’s the two versions of the episode Pigeon Post I’m comparing:
- The episode broadcast on BBC One on Wednesday 25th January at 7:30pm, with a duration of 28’56”.
- The version Playback released on DVD in Region 2 way back in August 2002, with a duration of 31’39”.
In other words, the version broadcast by BBC One on Wednesday is 2’43” shorter than the version on DVD.
Without either an off-air of the very original broadcast or paperwork to hand1, we’re left with a bit of guesswork – but I think we can work out what happened with reasonable certainty. The longer version on DVD is probably the original broadcast (aside from the episode title caption), and the episode broadcast on Wednesday is a cut-down version for repeat transmission to fit a standard slot – which I suspect is the version the BBC have been showing for years.2
Let’s see what’s missing, shall we? Cuts to the repeat broadcast are indicated like this.
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Watching things on DVD has an odd habit of hiding patterns in TV shows, as well as showing them. For all that watching classic Doctor Who exposes the runaround nature of some of the middle episodes in a serial, if you’re watching the show out of order, the links between serials go awry. Even if you decide to watch a programme like, say, George & Mildred completely in order, the fact that the show had a Christmas episode each year between 1977 and 1979 is easy to go unnoticed.
Let’s take some notice, shall we?
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YVONNE: Something will have to be done about Ted’s act. He’s getting positively revolting.
BARRY: Tonight he did the one about the two sailors and the gruyère cheese, followed that with the midget and the giraffe… and finished up with the one about the curate and the cucumber. Then in the same breath he introduced us, and we had to go straight on and do our Spring in Park Lane fantasy waltz. Well, Yvonne was in tears. I was so embarrassed I didn’t know where to put my face, let alone my feet.
YVONNE: He was distraught, Mr. Fairbrother. And let’s face it, Barry’s the last person in the world you could call po-faced.
JEFFREY: Yes, I do know what you mean. He was very near the knuckle tonight.
GLADYS: He’s been getting worse.
JEFFREY: To be fair on Ted, I think the audience eggs him on. He gets carried away.
YVONNE: A good comedian does not have to resort to filth and lewd innuendo.
BARRY: With Ted, it isn’t even innuendo. He says it.
– Hi-de-Hi!, “It’s a Blue World”
Good morning, campers. On we go, with our comparison of the 2000s DVD release of Hi-de-Hi! and its repeat this year on BBC Two afternoons. Previously, we took a look at the pilot. Then we investigated Series 1. This time, we manage to examine the whole of Series 2, 3, 4 and 5 – taking us right to the end of the Jeffrey Fairbrother years.
And in the middle of all this, we discover a moment where Hi-de-Hi! doesn’t even indulge in innuendo. It goes right out and says it.
As ever, the exact two versions we are comparing are:
One thing which is immediately apparent is that as the series progresses, there are fewer and fewer different edits of the programme – indeed, many episodes are identical. Only the episodes with differences are listed here. All timings given are from the DVD version.
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JEFFREY: Hello campers. Hi-de-hi.
JEFFREY Yes folks. This is a big one. One of the high spot… lights of the week. Holiday Princess competition. Now now Dads put down your binoculars. Hi-de-hi.
TED: Get him off, somebody.
JEFFREY: And here to act as your Master of Ceremonies is your friend… and indeed he’s my friend as well… Ted Bovis.
– Hi-de-Hi!, “The Beauty Queen Affair”
With an introduction like that, this article can’t fail to disappoint. I’m afraid the Holiday Princess competition is nowhere to be seen. Instead, let’s get back into our series of articles looking at the differences between the DVD release of Hi-de-Hi!, and the recent BBC Two Afternoon Classics run of the show. Last time: the pilot. This time: Series 1, in all its “one of the best series of a sitcom ever made” glory.
To recap, then. The two versions of the programme we are comparing are:
Off we go. Cut sections are detailed like this, though take note of exactly which edit they are cut from – this time round, both the DVD and the broadcast versions have different sections removed. All times given are from the DVD.
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The first episode of Hi-de-Hi! is one of my favourite sitcom pilots of all time.1 And for at least the next four series, Hi-de-Hi! is one of my favourite sitcoms of all time. This is for so many reasons, all of which is worth an article in itself, but put simply: my favourite thing about the show is that it’s the perfect mix of everything. Every single kind of comedy I love is embedded into its soul. A show that doesn’t sneer at broad comedy, yet includes moments of amazing subtlety. It knows the magic is in the blend of the two.
Recently, BBC Two have started another repeat run of the show in their Afternoon Classics slot. I’ve long meant to do a full comparison of these broadcast versions of the show compared to my DVD copy – which fully admits on the back that “for contractual reasons certain edits have been made”. I was mainly expecting just the odd music change – but actually, the changes have ended up being rather more interesting than I ever imagined, and for the the pilot at least, actually ask rather more questions of the broadcast repeat than of the DVD.
Let’s take a look, shall we? Just to clarify, the two versions we are comparing are:
Neither of these versions, you will note, is what was actually transmitted originally on the 1st January 1980. So, which version is closest to that original edit? We can perhaps make an educated guess about that later.
All times given are for the DVD version of the episode, so even if you didn’t record the repeat broadcast version, you can skip to see exactly where the changes are. Cut dialogue in the repeat broadcast version is like this.
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BBC Two today at 2:45pm, before Yes, Minister:
“You’re watching Afternoon Classics on Two. Now, in a tribute to Sir Antony Jay who died on Sunday, co-writer of one of BBC Two’s most witty, sharp, satirical comedies of the 80s. In the corridors of power, politics was never more popular… with Yes, Minister and Yes, Prime Minister.”
BBC Two today at 3:15pm, after Yes, Minister:
Sometimes, when somebody dies, you don’t need schedule changes. You don’t need to drop everything to run a tribute programme right now. Nor do you need endless rolling news coverage.
Sometimes, a thoughtful continuity announcement and an obit slide is enough. Enough to show that a channel is alive, that it cares about its output, and that it’s respectful of the talent which made the channel what it is.
Sometimes, that’s all you need to prove that there really are real people working on a channel, who are there to add context and do what linear television is best at… instead of doing all the work weeks ago, then buggering off and leaving the channel to just be a box running pointlessly in the corner.
Sometimes, a little thought is all that matters. No fireworks. No razzmatazz. No fawning. Just a channel calmly doing its job.
As we enter the final run-up to Red Dwarf XI‘s broadcast in September, it occurs to me that I haven’t mentioned any of the stuff I’ve done over on Ganymede & Titan recently – the Red Dwarf fansite described by someone on Tumblr as “a shining example of how NOT to do fandom”.
A few articles I’ve written which may interest you, then:
- End of Part One – About the ad breaks in Red Dwarf X… and about how more careful placing of them could have ended up with a better-structured programme.
- Nice Going On The Idiotic Gaffe Front, Sirs – On how a fansite deals with spoilers, when most of them are escaping from the production or channel itself.
- “We’ve found a stasis leak on Floor 16…” – Taking a look at how much of online Red Dwarf fandom from 2004 still exists on the web now. (Spoiler: virtually none.)
- Hancock’s Half Hour: The Tycoon – One of my favourite things I’ve written anywhere this year, all about how the basic story of the Red Dwarf episode Better Than Life was done by Hancock’s Half Hour 30 years before… even the science fiction premise.
It strikes me how most of the above aren’t really pieces purely about Red Dwarf. Whether it’s about the impact of ad breaks on TV shows, how productions and channels should be thinking about spoilers, how the web has changed since 2004, or how science-fiction style concepts are done in non-science fiction shows, there might be stuff that interests you above even if you aren’t a hardcore Red Dwarf fan.
For people who are hardcore Red Dwarf fans though, we have some fun stuff coming up over the next few weeks. Our DwarfCasts have really kicked into gear this year, with our commentaries on the episodes Queeg and Demons & Angels being some of my favourite ones we’ve done recently.1 In the lead-up to Red Dwarf XI, however, we’re going to be publishing new commentaries on Red Dwarf X every weekend – and the one for the first episode Trojan is already up.
I sometimes find writing and participating on Ganymede & Titan to be a weird experience these days, considering my extremely mixed opinions on any Red Dwarf made since 1993. And it can lead to some interesting moments. Our next Red Dwarf X commentary due this weekend is on the episode Fathers and Suns, and features the slightly bizarre sound of me – usually the person slagging off the show – defending an aspect of the episode to Ian, who is usually far more positive about the series than me. That tension will hopefully make for some good listening.
Or, y’know, just really fucking annoy everyone.
“Now on BBC One, expect the unexpected – for the first time, Mrs Brown’s Boys goes completely live. Be prepared for strong language and adult humour. Agnes and her family are waiting in the wings – so it’s time to hand over to the director in BBC Scotland…”
— BBC One network continuity announcement into Mrs Brown’s Boys Live, 23rd July 2016
“Alan Carr hosts the comedy Live at the Apollo, now at 11:15. Before that on BBC One, strong language and adult humour, as we catch Agnes live – and on the hop…”
— BBC One network continuity announcement into Mrs Brown’s Boys “Live”, 30th July 2016
Last year, one of my most popular pieces here on Dirty Feed was this analysis of the 2005 live version of Quatermass – specifically, the differences between the original live show, and the edited version now widely available on DVD. Near the end of the piece, I wrote the following:
“Maybe we should be careful not to overstate the originality of the 2005 Quatermass. Sure, the BBC billed it as its first live drama for over 20 years. But looking to other broadcasters, Coronation Street did its first live programme in 2000, five years previously – and looking across to America, ER‘s live episode was in 1997. But still, as the beginning of the BBC’s renewed interest in live drama and comedy – through to EastEnders, Two Pints, Bollywood Carmen Live, and next year’s Mrs. Brown’s Boys live episode – it’s extremely important.”
One the 23rd July, that live Mrs Brown’s Boys episode was transmitted – and a week later on the 30th, we had a repeat. If ever there was a piece which I just had to write, this was it. Did much change between the two broadcasts? And if it did, will the show incur the hell and fury which Quatermass unleashed from these very fingertips?
Let’s take a look. All times given are from the repeat version of the episode, so you can watch along and see where the changes were, even if you haven’t got a copy of the original episode itself. Incidentally, the version now available on iPlayer is the edited repeat version.
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When it comes to rumours and Who Framed Roger Rabbit, you all know the drill. Eddie Valiant and Jessica chase Judge Doom out of Toontown, they crash spectacularly, sail through the air, Jessica’s dress hitches up, and you may or may not be able to see her hairy minge. The whole thing has been investigated in great detail, although frankly not quite enough detail for my taste.
Still, that’s not what this piece is about. No, my query is about another rumour associated with the film – and specifically, about this scene in Toontown with Eddie:
We’ll let the previously linked to Snopes article give us the basics (emphasis mine):
“In another scene, Bob Hoskins steps into a Toon Town men’s room. Graffiti on the wall reads “For a good time, call Allyson Wonderland”, with the phrase “The Best Is Yet to Be” appearing underneath it. Allegedly, Disney chairman Michael Eisner’s phone number replaces the latter phrase for one frame. Although the “Allyson Wonderland” graffiti is clearly visible on laserdisc, Eisner’s phone number is not. If the phone number was in the film originally (as rumor has it was), it was removed before the home versions of the movie were made available.”
The removal of this phone number seems to apply to every single home version of the film I – or seemingly anyone – has ever come across. LaserDisc, VHS, DVD, Blu-ray, the lot. If Eisner’s phone number was ever there in the film’s theatrical release, it’s gone from the retail versions. If is was ever there, of course. Because without evidence, this really starts to take on the feeling of an urban legend. Notably, Snopes has no actual evidence to offer, and the article goes out its way to label the phone number story as a rumour.
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19th September 1975, 9pm, BBC2, and the first programme of a little series called Fawlty Towers is broadcast. And whilst most of that first series of Fawlty Towers was shot in the summer of 1975, the very first episode – A Touch of Class – was recorded eight months earlier, in December 1974. The reason for this is simple: that first programme was a pilot. Unlike some programmes, which are re-recorded entirely for their first episode1, most of that pilot made it to air more or less in its original form. For instance, the opening sign is a different design in the pilot episode compared to every single other programme in the first series, and the theme music is also a different recording. Indeed, you wonder why, when it came to broadcast, they didn’t at least change the opening titles to be consistent with the other episodes, but I digress.
Opening titles from A Touch of Class
Opening titles from The Builders
One detail, however, was changed between the initial pilot recording, and its broadcast. Polly was originally meant to be a philosophy student – and that’s what she was in that pilot episode. For the series, they decided to change her to being an art student – and so they reshot parts of the pilot to incorporate the change. To quote John Cleese, in an interview on the 2001 DVD release:
CLEESE: She in the pilot episode was a philosophy student, and we didn’t feel that worked as well as art student, so we re-recorded just a little – maybe four or five minutes – and cut that into the first episode before it was transmitted to the general public.
The obvious question to ask, then – at least, if you’re me – is: which parts of the transmitted episode were reshot? And was it really four or five minutes of material? But whilst you could easily guess about one section which was reshot, for years that was all the information we really had about the change.
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