Does "The Wild Blue Yonder" point toward more physical episodes?

[bigcat]

Last of the Summer Wine is sometimes thought of as having fairly physical comedy often involving flying wildly downhill. I haven't seen a lot of this in the first five seasons. The two parter 'Here We Go into The Wild Blue Yonder' that ends season 5 seems to be the first where we see a fairly outrageous stunt. Some previous episodes had a touch of this like 'Northern Flying Circus', 'Jubilee', and 'Greenfingers.' But this two-parter seemed to build up to the flying stunts almost exclusively as the plot.

Why did the show move toward more physical comedy? Do you prefer the more verbal chatting or the physical comedy or a mixture of the two?

 

[codfanglers]

I will defer most of these questions to the experts.

As for your last question, I definitely prefer a mixture of verbal and physical comedy. In the duration of the show, I believe they moved to more physical comedy a little too early. I would have loved to see the more dialogue-driven shows go later in the years.

 

[bigcat]

I think I prefer a mix as well. I did notice that some of the early episodes seemed a bit plotless and while I enjoy the characters, I do need something going on to drive the story which the action tends to do to some extent.

 

[codfanglers]

I think I prefer a mix as well. I did notice that some of the early episodes seemed a bit plotless and while I enjoy the characters, I do need something going on to drive the story which the action tends to do to some extent.

Personally, I love the plotless feel that some of the episodes have. It is so unique. But as I mentioned before, it took me a few times to really appreciate the Blamire years. For example, I didn't like "A Quiet Drink" at all. After I properly got accustomed to that era, I really enjoy it now.

 

[Barrychuckle]

I think I prefer a mix as well. I did notice that some of the early episodes seemed a bit plotless and while I enjoy the characters, I do need something going on to drive the story which the action tends to do to some extent.

As I love the latter episodes so much I resisted watching the first couple of series until a few years back. One of the things I love about them is nothing happens in them. I have to say that is the genius of Roy Clarke's writing that you can create brilliant comedy without a real storyline. To me the early episodes are more of a portal into their daily lives, rather than adventures which came later.

 

[bigcat]

Interesting codfanglers and Barrychuckle. Thanks for your insights. So the characters and maybe the setting are more important than plots in both your viewing enjoyment? I wonder if this is a key to the appeal of Last of the Summer Wine?

 

[mashibinbin]

At it's heart whatever the time of the show it is character driven. Compo's childlike joy or petulance at being involved in the latest madcap scheme is perfectly at odds with the various third men's inveiglements that it should and will work for everyone's benefit. Clegg's musings throughout as they unfold are a sure point of joy and help to keep the vital status quo that delicately exists. Nora, Ivy and all the other ladies appear caricatures at first but dig deeper and there is genuine pathos to be found which can be found as Nora gets concerned or proud for her neighbour for instance. The physical elements may more evident as time goes on but if we weren't invested in Tom's struggle against the repo man, Smiler's search for romance or even for Howard to finally crack it this time then they just wouldn't work. It's exactly because we are so in tune with their wants and needs that the stunts are more than just set pieces and instead provide charming bits of whimsey to enjoy alongside breath-taking scenery.

 

[codfanglers]

Interesting codfanglers and Barrychuckle. Thanks for your insights. So the characters and maybe the setting are more important than plots in both your viewing enjoyment? I wonder if this is a key to the appeal of Last of the Summer Wine?

I don't know if it was ever about the plot for me. The characters, the way they interacted with each other, and their side adventures were always what appealed to me. I was just always fascinated with the guys in the twilight of their years roaming the countryside, trying to invent things, trying to solve others' problems, all while having breaks at the nearby pub or the cafe.

 

[codfanglers]

At it's heart whatever the time of the show it is character driven. Compo's childlike joy or petulance at being involved in the latest madcap scheme is perfectly at odds with the various third men's inveiglements that it should and will work for everyone's benefit. Clegg's musings throughout as they unfold are a sure point of joy and help to keep the vital status quo that delicately exists. Nora, Ivy and all the other ladies appear caricatures at first but dig deeper and there is genuine pathos to be found which can be found as Nora gets concerned or proud for her neighbour for instance. The physical elements may more evident as time goes on but if we weren't invested in Tom's struggle against the repo man, Smiler's search for romance or even for Howard to finally crack it this time then they just wouldn't work. It's exactly because we are so in tune with their wants and needs that the stunts are more than just set pieces and instead provide charming bits of whimsey to enjoy alongside breath-taking scenery.

Yes. Don't underestimate the setting in this show!

 

[bigcat]

At it's heart whatever the time of the show it is character driven. Compo's childlike joy or petulance at being involved in the latest madcap scheme is perfectly at odds with the various third men's inveiglements that it should and will work for everyone's benefit. Clegg's musings throughout as they unfold are a sure point of joy and help to keep the vital status quo that delicately exists. Nora, Ivy and all the other ladies appear caricatures at first but dig deeper and there is genuine pathos to be found which can be found as Nora gets concerned or proud for her neighbour for instance. The physical elements may more evident as time goes on but if we weren't invested in Tom's struggle against the repo man, Smiler's search for romance or even for Howard to finally crack it this time then they just wouldn't work. It's exactly because we are so in tune with their wants and needs that the stunts are more than just set pieces and instead provide charming bits of whimsey to enjoy alongside breath-taking scenery.

Great points, mashibinbin. The characters are strongly delineated and memorable. This extends to the secondary characters as well. The conflicts between Compo and the third man seem to flow organically from their characters and little seems forced in either these clashes or the character driven humor.

The pleasure often derives from enjoying time with the three men as they have strange bits of fun in the town and across the hillsides. I'm still in the early years and haven't watched the show in a very long time so most the secondary characters you mention haven't popped into my viewing yet, but it will be interesting to see how they develop and what they add to the show.

 

[bigcat]

Thanks codfangles. The characters are certainly enjoyable and drive the show and the setting is lovely. I still must admit to needing something to keep my attention like a bit of adventure. Maybe it is a character flaw? I do find that the Foggy and Compo fussying holds me better than the first two years did and now with a bit more going on maybe season 5ish and forward are my prime years for viewing. We shall see.

 

[wstol]

I think the show first got 'physical' as early as Series Two, with the Blamire episode Ballad for Wind Instruments and Canoe.