To film or not to film?
There’s a
great article by Andrew Collins in this week’s Radio Times defending studio
recorded sitcoms such as “Mrs Brown’s Boys” and “Father Figure”, which get such
a slating from the critics. Andrew’s argument is twofold. In spite of what
studio sitcom-haters say, the laughter isn’t canned: it’s the genuine
spontaneous response of the audience in the room. You can’t can it, you can’t
fake it. And that to obtain these laughs regularly over thirty minutes takes a
huge amount of work and talent. I’ve acted in a couple of studio sitcoms and I
agree with Andrew. “Mrs Brown’s Boys” may not be subtle or sophisticated (and
it’s not my taste) but it works as comedy. People love it. They laugh.
I’d like to
take the argument further and say that there’s not the gulf between the two
comedy genres which critics assume. Whether filmed on one camera or with three
in a studio, the format of the half hour sitcom has stayed remarkably constant.
Take “Friday Night Dinner”. Embarrassing, dysfunctional dad:
well-intentioned prying mum trying to keep the family together: two squabbling
and slightly rebellious offspring: eccentric neighbour. And their squabbles and
misunderstandings. It sounds just like one of those dreaded, cheesy wobbly-wall
sitcoms of the 1970s. Except it took the point of view of the boys, was about a
Jewish family and, crucially, was filmed without a laugh track. It’s brilliant.
But it’s not a million miles from the dreaded “Terry and June”. OK, ten
thousand. But no more.
Grittier,
more “real” subject matter? Emphasis on characters and not laboured setups and
punch lines? Grappling with issues? These have been sitcom staples since the
first disastrous tea with the vicar circa 1965. “Steptoe & Son” steered
well clear of jokes, was downbeat to the point of being morose, and was all
about social aspiration and the generation gap.
“Porridge” didn’t shy from extortion and bullying in prison or sexual
frustration, and had two of the most naturalistic sitcom performers ever in
Ronnie Barker and Richard Beckinsale. OK, it didn’t deal with forced male-on-male
sex or heroin but I can’t think of any modern sitcoms that do, either.
People
complain that the breaking of the fourth wall in “Mrs Brown’s Boys” destroys
the purity of sitcom, but are somehow silent on the straight-to-camera rants of
Jez and Mark in “Peep Show”. If Gerald Wright in “The Wright Way” had burst
into song, critics would have had a hernia. But Bret and Jermaine’s music
routines in “Flight of the Conchords” was part of its postmodern charm.
There’s a
mismatch somewhere between what’s trendy and what isn’t. I’m looking forward to
the day when no one really cares whether a sitcom has a studio audience or not,
but laugh at it on its own merits. I doubt if it will be soon.
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