Monty Python's Flying Circus

Monty Python’s Flying Circus

TV Milestones

Series Editors

TV Milestones is part of the Contemporary Approaches to Film and Television Series

A complete listing of the books in this series can be found online at http://wsupress.wayne.edu

General Editor

Barry Keith Grant

Brock University

Advisory Editors

Patricia B. Erens

Dominican University

Lucy Fischer

University of Pittsburgh

Peter Lehman

New York University

Caren J. Deming

University of Arizona

Robert J. Burgoyne

Wayne State University

Tom Gunning

University of Chicago

Anna McCarthy

Arizona State University

Peter X. Feng

University of Delaware

Monty Python’s Flying Circus

Marcia Landy

TV MILESTONES SERIES

Copyright © 2005 by Wayne State University Press,

Detroit, Michigan 48201. All rights are reserved.

No part of this book may be reproduced without formal permission.

Manufactured in the United States of America.

09 08 07 06 05                         5 4 3 2 1

Library of Congress Cataloging-in-Publication Data

Landy, Marcia, 1931–

Monty Python’s flying circus / Marcia Landy.

p. cm. — (Contemporary approaches to film and television series. TV milestones)

Includes bibliographical references and index.

ISBN 0-8143-3103-3 (pbk. : alk. paper)

1. Monty Python’s flying circus (Television program) I. Title. II. Series.

PN1992.77.M583L36 2005

791.45'72—dc22

2004020263

The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.

CONTENTS

ACKNOWLEDGMENTS

The Flying Circus and the Wide World of Entertainment

The Pythons

The Flying Circus in a Changing British Culture

The British Broadcasting Corporation

The Pythons and American Television

Antecedents and Influences

Situating Comedy

Television Time

Television Forms and Genres

Animals, Insects, Machines, and Human Bodies

Cross-Dressing and Gender Bending

Hyperbole, Excess, and Escalation

Recycling Literature, Drama, Cinema, and Art

Language, Words, Sense, and Nonsense

Common Sense and Audience Response

The Flying Circus Revisited

NOTES

VIDEOGRAPHY AND FILMOGRAPHY

SELECTED BIBLIOGRAPHY

INDEX

ACKNOWLEDGMENTS

I am grateful to Roger Saunders of Monty Python Pictures Ltd. for graciously granting me permission to reproduce video images from Monty Python’s Flying Circus and to the Pythons for creating a thrilling moment in television history.

I am also indebted to Kirsten Strayer, graduate student in Film Studies at the University of Pittsburgh, and to Robert Mitchell of the University of Pittsburgh Center for Instructional Research and Development, who worked with me to prepare many of the images. My secretary, Carol Mysliwiec, was indefatigable in seeking sources for illustrations and in reproducing the many scripts for the shows. My graduate assistant, Ben Feldman, industriously located necessary articles and books on the Pythons, the British Broadcasting Corporation, and American and British reviews of the series, and Colin Brett provided me with helpful information on British television.

I also wish to express my gratitude to the various readers of the manuscript and to the editors of the TV Milestones Series, Barry Keith Grant and Jeannette Sloniowski, for their patient and critical reading of the work.

My special thanks to my friend and colleague Stanley Shostak for reading the manuscript countless times, for unweariedly discussing the form and content with me, and for encouraging me to clarify ideas.

I hope that the final form this book has taken repays his, the editors’, and the outside readers’ bountiful expenditure of time and effort.

The Flying Circus and the Wide World of Entertainment

In 1975, a compilation of episodes from Monty Python’s Flying Circus was scheduled for broadcast on the American Broadcasting Company’s (ABC) Wide World of Entertainment. The Pythons’ American manager, Nancy Lewis, was verbally assured that episodes would be shown in their entirety. They were not. Entire segments were eliminated, and twenty-two minutes were excised to eliminate offensive material, strong language, and references to body parts that the Pythons often referred to as naughty bits. The excisions, in keeping with the code of ABC’s standards and networks practices, were based on five categories of abomination: sexual allusiveness, general verbal misbehavior, fantasies of violence, offensiveness to particular groups, and scatology.¹

Not only was the censored show unacceptable to the Pythons, but it was also totally unfunny, even incoherent. Moreover, the group had to confront the prospect of one more episode scheduled for broadcast on ABC-TV. Unwilling to see their work mangled again, the Pythons attempted to block the next program, sending the following memo to the network: We cannot state too strongly that this show is not Monty Python. Monty Python is the shows we made and edited. We want to do everything we can to stop them putting out another show like this.² Unfortunately, ABC declined to cancel the show, and the Pythons took the network to court for copyright infringement and unfair competition against their uncut work.³

The Pythons did not lose completely, because ABC prefaced the contested program with an acknowledgment that the show was edited by ABC. Furthermore, the judge, Morris E. Lasker, while granting concessions to ABC, asserted, The law favors the proposition that a plaintiff has the right under ordinary circumstances to protection of the artistic integrity of his creation. In this case, I find that the plaintiffs have established an impairment to the integrity of their work.⁴ The trial underscored differences between modes of producing commercial television in America as opposed to those in Britain: Most people who work in [U.S.] television, particularly in commercial television, are prepared to accommodate themselves to the prevailing realities. The Pythons had the psychic and financial resources—and the safe shelter back home at the BBC—to enter the lists against Goliath. Few others do.⁵

Fortunately for television history, the Flying Circus provided audiences with a body of work that testifies to the creative potential of television. The dramatic court battle between ABC-TV and the Pythons exposed the constraints of television censorship as well as its consistent disregard for artistic integrity and ownership. However, the Pythons were able to transgress boundaries that most television, directly or even indirectly, avoided crossing, including nudity, explicit sexuality, fantasies of violence, and interdicted language—but not without incurring protests from pressure groups, politicians, and television administrators.

The Flying Circus was more than satire or parody of television. In its uses and abuses of television time, chronology, genres, and continuity, the four seasons of the show exposed both the existing limitations and the possibilities of the medium. The style of the Flying Circus and its choice of subjects for sketches revealed the potential of television to experiment with programming through format, character, visual image, and sound, outrageously exploiting the temporal nature of television through an appearance of immediacy, liveness, and experimentation with continuity as well as segmentation. The Pythons’ self-reflexive and critical treatment of the character of television was evident through the constant interruptions in the comic segments, the linking of so many of the episodes to the British Broadcasting Corporation (BBC) setting, and the constant allusions to televisual modes of production and reception, alerting the spectator to how the television image is held between innumerable institutions—of regulation, of the market-place, of expressed and inchoate opinion—and . . . offer[s] an ordering of things, even to exaggerate the chaos and orderlessness of things.⁶

The Flying Circus adopted a visual and verbal language that enabled transatlantic crossings in relation to questions of time, space, modes of narration, pastiche, and intertextuality. Specifically, the mixing of high and low culture, the intertextual dimension of the comic material, the daring treatment of the body and of sexuality, and the unrelenting critique of the television medium made the shows accessible to wide audiences despite the often erudite character of allusions to literature, philosophy, and history. The Flying Circus irreverently eschewed the conventions of situation comedy: the fully formed and coherent narrative script, stand-up routines, focus on a central individual, and decorum associated with the presentation not only of sexually explicit material but also of hallowed taboos concerning social institutions. In its style and subject matter, the Flying Circus experimented with a complex form of comedy that wreaked havoc not only with the TV apparatus but also with contemporary culture. This form of comedy, often identified as stream of consciousness, surreal, nonsensical, or carnivalesque, challenges logical categories and received conceptions of the world. In the Pythons’ comedy, nonsense becomes a higher form of sense manifest through the language of the body, inversion of linguistic categories, and distortions in visual perception of places and events.

The Pythons

The first season of the Flying Circus, containing thirteen half-hour programs, began airing on BBC television on October 5, 1969. The second and third seasons also contained thirteen programs of the same length as the first, whereas the fourth contained only six programs, bringing the total of half-hour episodes to forty-five. The final program was aired on December 5, 1974.

Five Britons—John Cleese, Michael Palin, Terry Jones, Graham Chapman, and Eric Idle—and one American, Terry Gilliam, comprised the Python group. Though not usually designated as such, Carol Cleveland is deserving of recognition as the seventh Python. The show’s producers were John Howard Davies and Ian MacNaughton. They also directed the series: Davies directed four of the first programs in 1969, and MacNaughton directed the remainder. Although the six Pythons worked collectively or in pairs on the scripts, other writers were occasionally hired for additional material (e.g., Douglas Adams and Neil Innes). Gilliam created the animation, and James Balfour, Alan Featherstone, Terry Hunt, Max Samett, and Stanley Spee were the cinematographers. Neil Innes was credited with musical direction (with uncredited assistance by Idle).

The Flying Circus underwent alterations during the four seasons as the Pythons experimented with the uses of comedy. The technique of abandoning punch lines and conclusions to various sketches and of moving more freely from sketch to sketch began during the middle of the first season. The Pythons’ stream-of-consciousness style became more pronounced throughout the subsequent seasons. The motifs that characterized the sketches were as wide ranging as the