Funny Farm (1975)

DAVID ROLINSON

Play for Today Writer: Roy Minton; Producer: Mark Shivas; Director: Alan Clarke

“This place gets more like a bleeding madhouse every day…”

BTVD_Funny Farm_1 2016 Funny Farm depicts a night shift by nurse Alan Welbeck (Tim Preece) on a psychiatric ward. As reviewer James Scott put it, the play comments on “conditions in our mental hospitals – understaffing, overwork, bad pay, old inadequate buildings” and unsatisfactory “patient treatment and cure”, points which are heightened by the play’s “understatement” and rejection of “sensationalism and sentimentality”.¹ Dennis Potter praised this “gentle and observant drama” as “Beautifully acted, compassionately written and intelligently directed”.² The play also dramatises writer Roy Minton’s contention that “Psychiatric therapy is fundamentally an agent for the state”,³ and provides an example of Minton’s productive collaboration with director Alan Clarke. My book Alan Clarke didn’t have a chapter on Funny Farm in its own right – I discussed it only in relation to other collaborations and tendencies across Clarke’s work. This essay aims to correct that omission, and features some new research findings.

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James Scott, ‘Writer swipes hard at our crazy values’, The Stage and Television Today, 6 March 1975, p. 19. ↩
Dennis Potter, ‘Switch Back’, New Statesman, 7 March 1975, p. 319. ↩
Minton, quoted in Shiva Naipaul, ‘Madness and their methods’, Radio Times, 20 February 1975, p. 14. ↩

The ‘Appening: Parkin’s Patch (1969-70)

DAVID ROLINSON

As a festive, er, ‘treat’, here’s a much more facetious piece than this site usually runs, a DVD review (of Parkin’s Patch: The Complete Series), which apart from some revisions is reproduced from the excellent (but at this moment on hiatus) Tachyon TV website… There’s a moment in the episode ‘Lock, Stock and…’ when a character starts an alibi with “I took the whippet out”. This made me think two things: “until it has a Yorkshire edition, the CSI franchise is merely treading water” and “Parkin’s Patch is pretty much what I expected.” So, should you expect 26 half-hours of charming yet undemanding early evening telly with a local bobby investigating quirky and/or spiky Yorkshire folk? ‘Appen. And ‘appen not. There are some predictable, even ramshackle, moments, but there are also some lovely surprises that make Parkin’s Patch a bit of a treat.

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Making Contact with Contact: From AFN Clarke to Alan Clarke

DAVID ROLINSON

Screen Two; Writer: AFN Clarke; Director: Alan Clarke; Producer: Terry Coles

The first production to be shown in the Screen Two strand, Contact was broadcast on BBC2 at 10.10pm on Sunday 6 January 1985.¹ An account of British Army patrols around the border in South Armagh, Contact was an appropriate start for Screen Two given its contemporary concerns, politically sensitive subject matter and distinctive style. Filmed between 6 and 29 August 1984, Contact was directed by Alan Clarke.² It is one of the highlights of Clarke’s astonishing body of work. Jim Naughton’s review of Contact is largely characteristic of the critical acclaim that it received: “a crisp, tight, elegant piece of work, wonderfully shot […] by Philip Bonham Carter and making brilliant use of sound”, the film “found a new angle on Northern Ireland, which is more than can be said for most programmes about that […] province”.³ Typically for a Clarke piece it achieved more acclaim abroad, winning the Golden Leopard’s Eye at the Locarno International Film Festival, where the jury praised the “intelligence and precision with which the camera describes the story of a British patrol in Northern Ireland while leaving the spectator free to judge”.⁴ Clarke described the win as a “high spot” of his career, “absolutely great”.⁵ However, there was another Clarke at work on Contact whose own contribution has been underexplored: its writer, AFN Clarke…

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This article builds upon one sub-section of Chapter 3 of Dave Rolinson, Alan Clarke (Manchester: Manchester University Press, 2005), which was reissued in paperback in 2011. It was a shame that the paperback was just a straight reprint because most of it was written in the restrictive logistical circumstances of my Ph.D. (October 2000-Summer 2004) and I think the Contact chapter in particular would benefit from updating and revising with the facilities and information that I now have. This article marks the start of that process of revision. ↩
Filming dates taken from Contact’s BBC Programme-as-Broadcast file, viewed at the BBC Written Archives Centre. ↩
Jim Naughton, ‘The good spies come back’, The Listener, 10 January 1985, p. 33. ↩
Jury quoted in Paul Johnson, ‘BBC says film on informers was not delayed’, The Guardian, 15 August 1985. Interestingly given some of the reviewer comments quoted later in this essay, the Guardian piece describes Contact as “A BBC documentary on Northern Ireland”. The Contact news is at the bottom of a piece about the BBC denying alleged censorship of a programme about informers in Northern Ireland, On the Word of a Supergrass. ↩
Billy the Kid and the Green Baize Vampire publicity material, viewed at British Film Institute library. ↩

The Good Companions (1980-81)

DAVID ROLINSON

Nine parts. Writer: Alan Plater; Adapted from (novel): J.B. Priestley; Music by: David Fanshawe; Producer: Leonard Lewis; Directors: Bill Hays, Leonard Lewis

A “tuneful tonic of merriment and mirth”, The Good Companions is a nine-part Yorkshire Television serial about a touring concert party adapted from J. B. Priestley’s famous 1929 novel.¹ It was adapted by Alan Plater, who described the serial as one of his happiest working experiences, but added that it was “interesting but flawed, and didn’t really catch on”.² That’s a fair assessment, but the serial is certainly more interesting than flawed. Like the two previous film adaptations, the serial risked being written off as undemanding, suffering in part because of the reputation of the source novel. Writing about the 1933 film version, Charles Barr observed that the novel “never had much currency in academic circles”, with supportive opinions outweighed by the impact of “the vinegary attacks on the book and the novelists by the two Leavises”.³ Priestley himself argued that “[s]ome severe critics dislike” stories in the picaresque tradition of “huge wandering tales” as these are “too rambling and easy for them”.⁴ However, the serial’s ability to parallel the book’s feel-good, episodic qualities is also one of its main strengths. With composer David Fanshawe setting Plater’s lyrics to a variety of song styles, and a lively ensemble cast relishing on-stage music hall scenes and off-stage full production numbers, this is a witty and unashamedly fun serial. The Network DVD release also comes with the 1980 tie-in documentary On the Road, in which Plater interviews Priestley, compares the serial with previous film versions and provides behind-the-scenes footage.⁵

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The Good Companions, tx. ITV, 14 November 1980-16 January 1981. Now available on DVD from Network DVD. ↩
Alan Plater, Doggin’ Around (Northway, 2006), p. 99. ↩
Charles Barr, ‘The Good Companions’, in Brian McFarlane (editor), The Cinema of Britain and Ireland (London: Wallflower Press, 2005), p. 31. ↩
J.B. Priestley, in Priestley and O.B. Davis, Four English Novels (Harcourt Brace, 1960), p. 262. ↩
According to production files relating to On the Road, which are available in the Alan Plater archive in the Hull History Centre, the documentary’s location visits happened in the last week of July 1979. ↩

Dixon of Dock Green in the 1970s

DAVID ROLINSON

The opinion that Dixon of Dock Green (BBC, 1955-76) was a cosy anachronism throughout its existence, and in particular in the 1970s, remains pervasive. Lez Cooke’s excellent study of British television drama fairly summarises the common view that Dixon “gained a reputation as a ‘cosy’ representation of the police and their relationship with the public in the mid-late 1950s”, a representation which was “superseded” in the 1960s and 1970s “by more hard-hitting and up-to-date representations of both the police and the criminal underworld”.¹ Dylan Cave goes further in Ealing Revisited, arguing that Dixon‘s long run “wasn’t due to innovation, but to its dogged refusal to acknowledge the pace of a changing Britain, as depicted in the far tougher police series Z Cars and The Sweeney. It was cherished as a reassuring reminder of apparently simpler, gentler times”.² There is room to question the pervasive generalisation that 1970s Dixon was a cosy anachronism that was smashed up by the arrival of The Sweeney (ITV, 1974-78). As I’ve argued in my previous writing on police drama,³ this generalisation needs to be put under more scrutiny, either by putting The Sweeney in the context of the detailed study of other police and action series of the period (Cooke wisely uses the plural “representations”), or looking into the apparent anomaly that Dixon survived – indeed, was still hugely successful – well into the 1970s. Dixon makes its own use of the changing language of police drama – with its “shooters”, “birds” and “blags” and the prioritisation of the CID while former beat copper Dixon takes a back seat – and reflects the changing practices of, and attitudes towards, the police. Acorn Media’s welcome DVD release of six colour episodes gives me a chance to look more closely at 1970s Dixon to add this article as a supplement to this much longer and more detailed piece on Dixon’s place in the history of police drama.

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Lez Cooke, British Television Drama: A History (London: British Film Institute, 2003), p. 49. ↩
Dylan Cave, ‘The Legacy of Ealing’, in Mark Duguid, Lee Freeman, Keith M. Johnston and Melanie Williams (editors), Ealing Revisited (London: British Film Institute/Palgrave Macmillan, 2012), p. 222. The directness of this statement is slightly surprising since Ealing Revisited is derived from a 2006 conference of the same name at which I presented a paper which problematised this opinion. An extended version of that paper, on Dixon‘s revisiting of Ealing’s The Blue Lamp and its own revisiting by The Black and Blue Lamp, is available on this site, with a link elsewhere on this page. ↩
David Rolinson, ‘From The Blue Lamp to The Black and Blue Lamp: the police in TV drama’. Posted on this site in February 2011, but drawing from previous talks and publications since 2002. ↩