by Adam Ferenz
One of the funniest works of art in history. There are twelve episodes. This is in part because program stars, creators and writers John Cleese and Connie Booth decided to get a divorce between series one and two, but also because both were superb professionals who demanded the absolute best, as close to perfection as was possible. That they achieved it more than not is extraordinary. The focus was laser tight, and the situations improbable, but the funny was consistent. It was also very racy, both for its time and today. Yet, here we have twelve episodes-approximately six hours-of some of the greatest comedy ever made for broadcast.
Basil Fawlty is the blustery, fussy, imperfect perfectionist of England’s not-so-premiere hotel, and he is joined by a motley crew, including his wife, an old military officer, a cook and a maid. None of these people should work together. In fact, none of these people should know each other, and not because of any class bias-though perhaps the Major or Basil himself might argue otherwise-but because the world would be a safer place if they did not. Each day is not so much an adventure as it is a disaster, whether it is Basil running out of petrol on the road, or a group of Germans visiting the hotel and everyone saying precisely the wrong thing to them, culturally.
That episode, “The Germans”, closed out the first series of Fawlty Towers. It was once ranked # 12, by TV Guide-take that for what you will-on their list of greatest episodes in history. Throughout the episode, Basil, who is always worried about offending guests and losing money and reputation, keeps telling his staff “Don’t mention the war” but, invariably, something comes up that alludes to the war, to German stereotypes, to warrior culture, to antisemitism, or , well, anything and everything that could go wrong, does go wrong. And it is hilarious. It is one of the most perfect half hours of comedy ever devised for big or small screen. Students of writing and direction should study it, because it is so brilliantly constructed and staged.
Yet, the characters-Basil, his wife, Sybil and the put upon staff, including frequent focus of Basil’s ire, Manuel, and the waitress, Polly, formed the core of the comedic events, with circumstances always spring out of their less than meager control, because of their greater than normal gift for self immolation. If not for Basil’s micromanaging ways, the hotel would possibly have done quite well. And yet, for all his micromanaging ways, if not for that, it may have failed even more miserably than it seemed to be doing. Is there anything more British than that?
Everyone who loves the show, of course, has their favorite episodes of Fawlty Towers, and most-rightly-pick “The Germans” as the greatest. But there are other fine stories in the series, including “The House Inspectors”, “Gourmet Night”, “Waldorf Salad” and “Communication Problems” all stand out as examples of the series at its madcap, scheming, whirlwind and razor-sharp best. This may seem like an excessive amount of material to point out, for a series that has only a dozen episodes, but selecting which five of twelve rare jewels sparkles the best only made this author appreciate the quality of the program that much more.
Yes, the series is still funny, and no, the abuse of Manuel is not easy. Some of the other material-the “Niggers and Wogs” segment from “The Germans” is cringe worthy, while maintaining a level of comedic-timing brilliance in the form of Cleese’s deadpan response. All this is only because Cleese does not make Basil an Archie Bunker, but instead a social climber, willing to compromise his values to line his pockets. Basil is us, and we are not pretty. That Fawlty Towers manages to make us think and laugh in equal measure is another feather in its bountiful cap. Is this a perfect series? It may be as close to a perfect comedy of this type as anything has ever gotten, and that is about the highest compliment this author can pay the program.
Consider, as this look at the program ends, that there are only twelve episodes. That they have been run, made available and beloved, for over forty years. Think about how many series with far more episodes are not only less beloved, but contain fewer great moments and characters. This program ranks among the best when one thinks about what a great sitcom would look like. Sheer genius.
One of the best British comedy series. Communication Problems, Gourmet Night and The Wedding Party are my favourite episodes. I’ve always found it difficult to understand why there were so few episodes made, this is one that could have gone on for much longer.
I was going to argue with you about “the Germans” being their best episode, since I never cared for it myself, but looking over the episode list I couldn’t figure out which one I did like best so I’ll just say I think season 2 is better crafted than season 1. And I have to say I stopped watching the show; after a certain age I felt the cruelty more than the humor.
Inspired lunacy of a very high order and surely one of the most perfectly written shows in television history. Obviously, it is one of the greatest works ever from the UK. Basil is one of the medium’s greatest creations. The irreverence of the German segments is comparable to what Mel Brooks did in The Producers. The changing signpost is another classic gig. Marvelously concise and acutely written piece here.
The sign gag was clever. Can’t believe I didn’t mention that.
A superb show. All 12 episodes are classics.
The reason there were only two seasons of 6 episodes is that the first season took a couple of years to pick up critical acclaim through repeats, initially it was met with some lukewarm reviews. Like ‘Seinfeld’ it was too different. And the fact that it took a long time for them to craft each script. It might have been 6 weeks for each one. Even after the second batch, they never ruled out a third season, they just got distracted by other projects.
The only other shows that are imbued with psychological underpinnings and had delightfully crazy interweaving plot lines, are Nat Hiken’s brilliant ‘Sgt Bilko’ (the greatest sitcom of the ’50s), ‘Seinfeld’ and ‘Curb Your Enthusiasm’.
Not bad company to be in.