With a brand new introduction by Eddie Braben and including never-before-seen material Morecambe and Wise charmed a nation for decades and at their height commanded TV audiences that could only be matched by the moon landings and the 1966 World Cup final. Often called the third member of Morecambe and Wise, the late Eddie Braben was the quiet genius behind their best-loved jokes. Here, collected together for the first time, is a celebration of the finest repartee Braben ever penned for them - the banter between Eric and Little Ern, lines from those horrendous plays what Ernie wrote, and the unforgettable celebrity encounters with such names as Glenda Jackson, Andre Previn and, of course, Des O'Connor. The perfect Christmas stocking-filler for Eric and Ernie fans young and old. Ernie: Can you remember the first words you spoke in the theatre? Eric: I'll never forget them. How could I? 'This way, please! Programmes!...' After a couple of months came my big break. That great Shakespearian actor and dance band leader, Sir Lawrence Olivier came to the theatre. Ernie: What happened? Eric: He came up to me. My heart stopped. He said, ' Young man, have you read any of Shakespeare's plays?' Ernie: What did you say? Eric: I said, 'Only two of them.' He said, 'Which ones?' I said, 'Romeo and Juliet.' So he put me in his next play. Ernie: What was it about? Eric: It was about thirty minutes too long.
Morecambe and Wise are legends that need no introduction. They charmed a nation for decades and at their height commanded TV audiences that could only be matched by the moon landings and the 1966 World Cup final.
A reissue of the 1977 original, a scrapbook compendium packed with laughs and jokes, games, snaps and comic strips, stories and spoofs, and even a centerfold--not necessarily in that order. Lots of sunshine, and plenty for a rainy day too. Everything, in fact, that you would expect from Britain's best loved comic duo. They've still got it, you know.
A shocking announcement from the Vampire Prince - that he doesn't like blood but prefers chips and a glass of red wine - begins a tale of ghoulish intrigue and hilarious horror. With illustrations by Tony Ross, this re-issue is sure to delight.
With his recent theatrical success, The Play What I Wrote, Braben shows that the audience for the spirit of the incomparable Eric and Ernie is just as alive today as it was in their glory years. Now, the key figure behind their success, scriptwriter Braben, has written his autobiography - with the inimitable, timeless humour, warmth and affection for Eric and Ernie of that wonderful bygone era which made their classic sketches so successful. From Liverpool to London and on to Snowdonia, Braben peppers his story with wonderful anecdotes about the original straight man and his amiable sidekick. The Book What I Wrote is as much a unique biography of the charismatic Eric and Ernie as it is an autobiography of the man on whose gags their success was made.
With a brand new introduction by Eddie Braben and including never-before-seen material Morecambe and Wise charmed a nation for decades and at their height commanded TV audiences that could only be matched by the moon landings and the 1966 World Cup final. Often called the third member of Morecambe and Wise, the late Eddie Braben was the quiet genius behind their best-loved jokes. Here, collected together for the first time, is a celebration of the finest repartee Braben ever penned for them - the banter between Eric and Little Ern, lines from those horrendous plays what Ernie wrote, and the unforgettable celebrity encounters with such names as Glenda Jackson, Andre Previn and, of course, Des O'Connor. The perfect Christmas stocking-filler for Eric and Ernie fans young and old. Ernie: Can you remember the first words you spoke in the theatre? Eric: I'll never forget them. How could I? 'This way, please! Programmes!...' After a couple of months came my big break. That great Shakespearian actor and dance band leader, Sir Lawrence Olivier came to the theatre. Ernie: What happened? Eric: He came up to me. My heart stopped. He said, ' Young man, have you read any of Shakespeare's plays?' Ernie: What did you say? Eric: I said, 'Only two of them.' He said, 'Which ones?' I said, 'Romeo and Juliet.' So he put me in his next play. Ernie: What was it about? Eric: It was about thirty minutes too long.
Although usually associated with the 1920s and the '30s, in fact the Art Deco style had begun to emerge in France prior to the advent of the First World War. But it was during the interwar years that the style, reaching full maturity, was adopted by the international elite as the perfect expression of modern opulence and elegance, and to this day Art Deco designs are redolent of the age of Jazz, cocktails, the Charleston, speakeasies, Hollywood glamour, New York skyscrapers and, above all, style. The '20s was also a period of great technological advances in engineering and transportation, and the perpetual modernity and futuristic aura of Art Deco are evocative of this too. Here, BBC Antiques Roadshow expert Eric Knowles provides a lavishly illustrated guide to this most alluring and timeless of styles.
At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude’s masterpieces. And, there, we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner’s protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner’s pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.
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