Special day with ordinary fare

Press, 28 October 1981, Page 22

Special day with ordinary fare

[Review]

Ken Strongman

Labour day television was disappointing, even though the programmers had made an attempt. The family film, ‘fThe Last Giraffe,” (Two), was yet another of those looking after a wild animal and heart-rendingly returning it to its natural state tear-jerkers. It was racially patronising, crude and simple-minded, and the best thing about it was the giraffe. “Sammy and Bruce." (Two) should have been better- than it was. Sammy Davis is arguably the best entertainer in the world, and Bruce Forsyth, whatever his shortcomings, has a fair measure of talent. The programme did not really get off the ground, though. It was all a bit strained and with not enough rapport between them. Perhaps it was because Sammy Davis is such an individualist. They had their moments,

though, and, unlike the recent Royal Command Performance, they showed what professional entertainment is all about. It is movement that seems to be vital. As well as joking, singing and mimicry. Bruce Forsyth and Sammy Davis share an ability to move with complete fluidity and perfect timing. Even though there were things wrong with the hour, it was good to see Bruce Forsyth back on top after a few depressing years. There is. however, just a touch of embarrassment involved in seeing ageing performers doing what they have always done, but not quite as well as they used to. Their voices were a mite off and it is just possible that Sammy Davis has lost all his wealth. His suit seemed to have been bought off the peg and the crutch altered, badly. The biggest disappointment was not to hear

Sammv Davis’s Mr 80. Jangles. Still, “Con, chicky, con, con, chic, con, con; yeaah." “Nice to see you, to see you nice.”

At 9.30 was the first of what could be 12 interminable parts of “Mackenzie." It had an odd black and white beginning which lasted long enough for one reviewer to muck up the colour controls for the next ten minutes. Heroes and heroines of course, are as voguish as clothes. At present, the fashion is for cruel, selfseeking, self-made psychopaths, who have pulled themselves up by their workingclass boot straps with their strong grip on life. We’ve had Jack Ford and James Onedin, and now there is Robbie Mackenzie, who is ambition personified as he tries to move his building trade from Glasgow to London. Naturally, all such heroes have redeeming features.

such as loyalty to their mates. But nothing, particularly their families, stands in the way of their wishes, or they turn very nasty. Why should such heroes be popular at present? One can just hope that it is not a reflection of current values. “Mackenzie” is a 19505, remember, pre-lib days, soap opera. Affairs, families, children, women who want more and can’t have them, men who want no more, small business becoming big business, etc, etc.. Mackenzie is a hard Glaswegian (aren’t they all?) who makes his own way with fierce determination and who always knows what is best for everyone else. There are so many old malefemale stereotypes portrayed that it will give today's ardent libbers much grist for their mill. It is not surprising that young Robbie wanted to move. His whole life was lived in a murk. He peered

through smoke and beer fumes in the pub. through mist on the early morning building sites, and through fog and smoke on the train. No wonder he wanted to break out — but he went to The Big Smoke. Life can only become murkier still and 'we will jump from one affair to the next and from one financial crisis to the next until well after Christmas.

Let’s hope all the other episodes are not nearly two hours long like the first.