Ben Elton-scripted sitcom Filthy, Rich and Catflap reunited three-quarters
of the cast of The Young Ones (BBC, 1982-84) in a satire of the acting
profession set around the back door of show business. It followed the exploits
of has-been actor Richie Rich (Rik Mayall), once a minor celebrity; his
alcoholic and ineffectual minder Eddie Catflap (Adrian Edmondson); and his
seedy, morally dubious agent Ralph Filthy (Nigel Planer).
The series featured venomous references to old-school light entertainment
comics like Jimmy Tarbuck, Leslie Crowther, Bruce Forsyth and Bobby Davro, and sent up popular game shows like Blankety Blank (BBC, 1979-90; 1997-99; ITV 2001-) and Celebrity Squares (ITV, 1975-79; 1993-5).
In frequent asides to the camera, Richie and Eddie would draw attention to
the construction of their own gags, and to the self-consciously convoluted
plots, which usually centred on Richie's increasingly desperate attempts to get
television work. The series was also rife with anti-Thatcher political
commentary; slapstick violence between Richie and Eddie, and a puerile recurring
joke that saw all the characters mistake the sound of the doorbell for their own
flatulence.
The original intention was for the series to be a writing collaboration
between Elton and Mayall. In the end, however, Mayall
forewent his writing credit in favour of one for 'additional material'.
Despite Elton's input, the characterisation of Richie Rich is trademark
Mayall: he is obnoxious, egomaniacal and talentless. Mayall carries over traits
of earlier characters - The Young Ones' (BBC, 1982-84) Rick, The New Statesman's (ITV, 1987-92) Alan B'Stard. The series is also in many ways a warm-up for Mayall and Edmondson's self-penned Bottom (BBC, 1991-1995) - the characters even have the same first names - which retained the farcical violence
and toilet humour but dispensed with the showbiz satire and leftist political
rhetoric.
Although less successful or well remembered than either The Young Ones or
Bottom, Filthy, Rich and Catflap contains hilarious performances from its three
players, which more than compensate for the uncomfortably vicious satire and
inconsistency of the scripted gags.
Hannah Hamad
|