Post by rhort on Nov 16, 2012 3:46:21 GMT -5
We begin in Gary’s living room in Cricklewood, with Gary on the phone to Yvonne whilst Ron plays a computer game. From the conversation we can see that Gary seems to be handling their time apart better than Yvonne is, although he obviously has other things to keep him entertained. In readiness for her imminent return, Gary has told Yvonne that Ron has moved on, even though he’s still there, however it seems that Ron has a plan in mind; perhaps not a very good one, but a plan nonetheless, and this seems in part at least to set Gary’s mind at rest. During his conversation with Ron, we see Gary once again analysing his relationships with both Yvonne and Phoebe, which is something of a trend of late, and it seems his scrutiny becomes more and more in depth with each attempt as he looks at the seriousness with which he has become involved with both of them.
Escaping once again to the 40s, and Gary and Phoebe visit the cinema. We arrive as the film ends, but Phoebe is keen to watch the first few minutes of the film, as they had missed it, which is something we don’t really see these days. Gary is less interested, but then he comes from an era where television is more prevalent, which tells us something of why Phoebe is more interested in the entertainment value to be gained by sticking around for a while. As things move on, we find they become embroiled in a discussion on the class system, centring primarily on education, but encompassing the wider issues therein, showing us that even though Gary’s views are effectively 50 years removed, they are still pertinent, with the same elements relevant.
At this point, we’re introduced to the main 40s plot, with Reg’s problem with Margie’s husband. This is an issue that has been running in the background for quite a while now, and things are suddenly being brought to a head when it is revealed that Margie is suffering from domestic violence at the hands of her spouse. Reg is all too aware of the fact that he is a large man, and also that the police’s standard policy is not to get involved in domestic issues, which makes it all the more difficult to work out what exactly he can do, and so he asks Gary for advice, which he is only too happy to give, despite the fact that Phoebe doesn’t think much of it. Reg, however, seems to take it better, and begins to consider his options more carefully.
When Gary returns to the 90s he finds Ron cleaning the house, in an apparent attempt to impress Yvonne when she arrives back. As he chats with Gary about his upcoming plans, we are treated to the excellent “sewage worker” line, leading us onward towards the “a tart” line, which I’ve always thought might have been a subtle reference to the 80s TV series ‘Bread’, which Victor also starred in. The general mood is then brought down with a bump as Gary receives a phone call which causes him to go running off to Yvonne, who has been taken into hospital.
The hospital scene then shows Gary genuinely concerned for his wife, and with Yvonne clearly needing him to be the strong one for once. The arrival of Yvonne’s mother then throws Gary onto the defensive, as she proceeds to belittle him, in some ways more subtle than others. I really like the choice of actress to play Helen, as I can totally believe her and Yvonne as mother and daughter. As they debate the matter of who will go to Cricklewood to collect things for Yvonne, Helen’s derisory view of Gary comes to the fore, mirroring in many ways Yvonne’s view of Ron, and it is Helen who wins the argument, setting off and leaving Gary and Yvonne together.
Helen’s arrival at the Sparrow household, and Ron’s welcoming of her, leads to a sequence of events the viewer will probably have anticipated, as the misunderstandings stack up to lead to what is an inevitable conclusion where Ron is concerned, and the way in which the scene cuts off before any ‘action’, leaving that which might follow in the imagination of the viewer is something to be enjoyed immensely. Again, the choice of actress to play Helen was crucial here, in order to find someone of obviously advancing years, but believably attractive to Ron.
Reg’s issues are no less imperative now, as he returns to the Royal Oak to find Margie hiding there from her husband. Reg also discovers that she has told him about their affair, and that it’s highly likely that he will appear in the pub himself at some stage to confront him.
Given his wife’s condition, Gary naturally spends a prolonged amount of time with Yvonne, and this in turn means he neglects Phoebe for a while, which doesn’t sit will with her by the time he eventually makes his way to the pub. She is particularly annoyed about the fact that he as missed an appointment she had at the doctor’s, and Gary is then forced to work hard to bring her back around with a series of promises, not for the first time. Phoebe then shows us how well she knows how to manipulate Gary by calling him ‘debonair’ in order to get him to play the piano for Margie and her son, which leads us on to the inevitable confrontation with Margie’s husband, who turns up looking for Reg, and assumes that Gary is him.
Gary’s usual gift-of-the-gab seems to fail him momentarily at this point, perhaps given the other man’s apparent lack of any real intellectual depth or moral fibre, and the very real possibility of a physical fight comes into being, and this is then notched up a gear by the production of a large spanner by Margie’s husband, who then proceeds to threaten Gary rather menacingly. At the last moment, Reg appears and actually saves the day, by hitting Gary’s assailant from behind with his truncheon, instantly rendering him unconscious, much to everyone’s relief.
Returning home for the final scene, Gary meets Ron for some moral support, and as they chat, the details emerge of Ron’s encounter with Helen, leaving Gary stunned, particularly at the point where Ron delivers the truly outstanding “father-in-law” line, ending things on a big laugh.
I’d give this episode a 90% rating. There’s quite a few ongoing story elements that are dealt with here, making it a vital episode to watch, and providing enough laughs along the way to make sure it’s not too heavy going as we try to keep up.
Escaping once again to the 40s, and Gary and Phoebe visit the cinema. We arrive as the film ends, but Phoebe is keen to watch the first few minutes of the film, as they had missed it, which is something we don’t really see these days. Gary is less interested, but then he comes from an era where television is more prevalent, which tells us something of why Phoebe is more interested in the entertainment value to be gained by sticking around for a while. As things move on, we find they become embroiled in a discussion on the class system, centring primarily on education, but encompassing the wider issues therein, showing us that even though Gary’s views are effectively 50 years removed, they are still pertinent, with the same elements relevant.
At this point, we’re introduced to the main 40s plot, with Reg’s problem with Margie’s husband. This is an issue that has been running in the background for quite a while now, and things are suddenly being brought to a head when it is revealed that Margie is suffering from domestic violence at the hands of her spouse. Reg is all too aware of the fact that he is a large man, and also that the police’s standard policy is not to get involved in domestic issues, which makes it all the more difficult to work out what exactly he can do, and so he asks Gary for advice, which he is only too happy to give, despite the fact that Phoebe doesn’t think much of it. Reg, however, seems to take it better, and begins to consider his options more carefully.
When Gary returns to the 90s he finds Ron cleaning the house, in an apparent attempt to impress Yvonne when she arrives back. As he chats with Gary about his upcoming plans, we are treated to the excellent “sewage worker” line, leading us onward towards the “a tart” line, which I’ve always thought might have been a subtle reference to the 80s TV series ‘Bread’, which Victor also starred in. The general mood is then brought down with a bump as Gary receives a phone call which causes him to go running off to Yvonne, who has been taken into hospital.
The hospital scene then shows Gary genuinely concerned for his wife, and with Yvonne clearly needing him to be the strong one for once. The arrival of Yvonne’s mother then throws Gary onto the defensive, as she proceeds to belittle him, in some ways more subtle than others. I really like the choice of actress to play Helen, as I can totally believe her and Yvonne as mother and daughter. As they debate the matter of who will go to Cricklewood to collect things for Yvonne, Helen’s derisory view of Gary comes to the fore, mirroring in many ways Yvonne’s view of Ron, and it is Helen who wins the argument, setting off and leaving Gary and Yvonne together.
Helen’s arrival at the Sparrow household, and Ron’s welcoming of her, leads to a sequence of events the viewer will probably have anticipated, as the misunderstandings stack up to lead to what is an inevitable conclusion where Ron is concerned, and the way in which the scene cuts off before any ‘action’, leaving that which might follow in the imagination of the viewer is something to be enjoyed immensely. Again, the choice of actress to play Helen was crucial here, in order to find someone of obviously advancing years, but believably attractive to Ron.
Reg’s issues are no less imperative now, as he returns to the Royal Oak to find Margie hiding there from her husband. Reg also discovers that she has told him about their affair, and that it’s highly likely that he will appear in the pub himself at some stage to confront him.
Given his wife’s condition, Gary naturally spends a prolonged amount of time with Yvonne, and this in turn means he neglects Phoebe for a while, which doesn’t sit will with her by the time he eventually makes his way to the pub. She is particularly annoyed about the fact that he as missed an appointment she had at the doctor’s, and Gary is then forced to work hard to bring her back around with a series of promises, not for the first time. Phoebe then shows us how well she knows how to manipulate Gary by calling him ‘debonair’ in order to get him to play the piano for Margie and her son, which leads us on to the inevitable confrontation with Margie’s husband, who turns up looking for Reg, and assumes that Gary is him.
Gary’s usual gift-of-the-gab seems to fail him momentarily at this point, perhaps given the other man’s apparent lack of any real intellectual depth or moral fibre, and the very real possibility of a physical fight comes into being, and this is then notched up a gear by the production of a large spanner by Margie’s husband, who then proceeds to threaten Gary rather menacingly. At the last moment, Reg appears and actually saves the day, by hitting Gary’s assailant from behind with his truncheon, instantly rendering him unconscious, much to everyone’s relief.
Returning home for the final scene, Gary meets Ron for some moral support, and as they chat, the details emerge of Ron’s encounter with Helen, leaving Gary stunned, particularly at the point where Ron delivers the truly outstanding “father-in-law” line, ending things on a big laugh.
I’d give this episode a 90% rating. There’s quite a few ongoing story elements that are dealt with here, making it a vital episode to watch, and providing enough laughs along the way to make sure it’s not too heavy going as we try to keep up.