TV Review: Camping it up (1994)

Brookside

TV Review from the September 1994 issue of the Socialist Standard

In the history of British TV comedy there has been little to match the comic effect of an outrageously effeminate male camping it up with the best of them. Exaggerated mannerisms and affectations have delighted audiences for decades. Many of the popular sitcoms have had a camp figure of fun somewhere - Frank Williams as the overblown vicar in Dad's Army, the twinkly German Lieutenant in ‘Allo 'Allo, Melvyn Hayes in It Ain't Half Hot Mum and John Inman in everything he’s ever been in are among those that spring readily to mind.

As far as mainstream British comedy has been concerned, campness is the “acceptable” face of an unmentionable homosexuality to the viewers and actors alike, so much so that such a great actor as Kenneth Williams — as camp as a row of tents to the end — could barely admit his own homosexuality to himself let alone anybody else, as his Diaries testify. Williams was clearly aware that camp humour, in his day at least, hinted at homosexuality but rarely endorsed it in any way, being content to remain at the level of innuendo and whimsy. In recent years one or two comics have broken this unspoken rule, most clearly Julian Clary whose full frontal assaults on the sexual sensibilities of the audience have won him an army of gay supporters, but most homosexual actors have kept with the approach developed in the music halls and adapted for TV and film.

The British film and TV industries have been the masters of camp humour. It can still be seen in Coronation Street occasionally, though with the welcome twist that it emerges most notably of all in the affectedness of the definitely heterosexual Racquel. barmaid at the Rovers. More straightforwardly. Kenneth Williams, Frankie Howard and Charles Hawtrey all became household names because of their ability to mince in front of the cameras. Did they do their sexuality a disservice? To the extent that they reinforced one of capitalist society’s most enduring stereotypes, probably, but those homosexuals in the acting profession and elsewhere who took an outwardly hostile stance towards homosexuality for the sake of their public image did a greater disservice still.

Innumerable actors have been paid to betray their own sexuality. A recent re-run on BBC2 of one of the classic Steptoe and Son episodes saw old Albert berating Harold for consorting with an antique dealer he considered to be "a bleeding poof’, in the true style of a working class Tory bigot. What many viewers wouldn’t have been aware of was that Wilfred Brambell, the actor who played Albert, was himself a homosexual convicted in the early 1960s under the British state's anti-gay sex laws. Watching this episode again, it was difficult to raise much of a laugh.

Prisoners all

The current cult TV show among the active gay lobby in Britain is the Australian import Prisoner Cell Block H, which is still showing on most ITV networks. This is strange, as Cell Block H is a programme transparently about Good and Evil, and the active lesbians have generally slotted into the latter category. The leading lesbian, a warder called Joan Ferguson, otherwise known as ‘The Freak", has a face like a bulldog chewing a wasp and the general manner of a woman whose role in life is to cause as much anguish for others as possible. Since Prisoner finished its turn in Australia several years ago. we can surmise that she can soon expect the call-up for EastEnders.

The only reason lesbians can find this show attractive, apart from its marvellously worked-out plots, is that it focuses on the lives of oppressed women. But with what is commonly considered to be a psychopathic "bull-dyke” as the chief character, it is not much of a blast forward for the gay counter-culture. In truth, for all her entertainment value, "The Freak" gives far more succour to the stereotypical image of homosexuals than Kenneth Williams or Larry Grayson ever did.

To find the most realistic treatment of homosexuality on TV we must turn, once again, to Channel Four's Brookside. Here, the unfolding of Beth Jordache’s lesbian sexuality has been tastefully and seriously portrayed, even if her lesbianism is a partial reaction against the sexual abuse meted out by her father. Most pleasing of all, the character of Beth is not stereotyped — on the contrary, she appears to be a normal intelligent teenager confronting bigotry and deceit, and winning support because of the strength of her arguments to live her life without the interference of those who want to impose their own norms on her.

Brookside could have gone for cheap laughs with this storyline, but it is to be congratulated on its approach. For the more the working class see their differences — of colour, gender and sexuality — eclipsed by their common bonds rather than highlighted through division, the easier it will be to achieve a society where stereotyping is remembered primarily as a feature of daft old films and peculiar Australian soap operas.

Dave Perrin