4. ‘The Unlucky Winner Is …’ (29/1/89)
5. ‘Sickness and Wealth’ (5/2/89)
6. ‘Little Problems’ (12/2/89)
Christmas Special
‘The Jolly Boys’ Outing’ (25/12/89)
Christmas Special
Series Seven
1. ‘The Sky’s The Limit’ (30/12/90)
2. ‘The Chance Of A Lunchtime’ (6/1/91)
4. ‘The Class Of ’62’ (20/1/91)
5. ‘He Ain’t Heavy, He’s My Uncle’ (27/1/91)
6. ‘Three Men, A Woman And A Baby’ (3/2/91)
Christmas Special
1. ‘Miami Twice – Part One: The American Dream’ (24/12/91)
2. ‘Miami Twice – Part Two: Oh To Be In England’ (25/12/91)
Christmas Special
‘Mother Nature’s Son’ (25/12/92)
Christmas Special
Christmas Trilogy
1. ‘Heroes And Villains’ (25/12/96)
3. ‘Time On Our Hands’ (29/12/96)
Comic Relief Special
(14/3/97)
Christmas Special
‘If They Could See Us Now …!’ (25/12/01)
Christmas Special
‘Strangers On The Shore’ (25/12/02)
Christmas Special
‘Sleepless In Peckham’ (25/12/03)
Not many sitcoms succeed in ingraining themselves into the British psyche, but Only Fools and Horses, written by the unassuming John Sullivan, whose other success stories include Just Good Friends, Citizen Smith, Dear John and, of course, Green, Green, Grass, did just that.
During its 23-year run, 64 episodes were shown, with the lion’s share attracting sizeable audience figures. Topping the list, ‘Time On Our Hands’, the final instalment in 1996’s Christmas Trilogy, pulled in a whopping 24.3 million viewers.
‘CREME DE LA MENTHE.’ (DEL)
As always, many factors lay behind the show’s indubitable success, including John Sullivan’s ability to evince a sense of realism into the scripts, confidently blending seriousness with the comedy oozing from every episode. Undoubtedly, Only Fools was a rich study of people’s foibles and life’s issues. John wasn’t scared to confront tough subjects in his work. What less talented scriptwriters might have shied away from, he faced head-on: miscarriage, impotence, fraud, violence, death – just some of the delicate topics spotlighted in his well-loved sitcom.
Here, in a similar style to the two previous books in the series, celebrating Dad’s Army and Porridge, we bring you a host of well-crafted, perfectly honed scenes; uproarious one-liners; revealing insights from not only John Sullivan but the actors as well; an overview of the sitcom’s life and a barrow load of other goodies, too. As Del would put it, it’s all lovely jubbly!
RICHARD WEBBER
THE STORY IN A NUTSHELL
Writer John Sullivan had already scored with a hit sitcom, in the shape of Citizen Smith, by the time he turned his attention to Only Fools and Horses.
The then BBC head of entertainment, Jimmy Gilbert, had played a key role in launching Sullivan’s writing career by commissioning Citizen Smith and was keen to retain the services of the talented writer. Although he wasn’t enamoured of the title, Only Fools and Horses, he knew immediately that the sitcom’s premise – a London family who wouldn’t sponge off the state as they wheeled and dealed their way through life from one dubious business deal to the next – would work.
The first series was eventually commissioned, centred on the Trotter family, a surname Sullivan had encountered previously, having worked with someone of the same name. Experienced director Ray Butt took control of the opening season before passing the reins on to Gareth Gwenlan.
When it came to casting, Nicholas Lyndhurst was already in the frame to play Rodney, a decision which pleased Sullivan. Finding his older brother was trickier. Enn Reitel and Jim Broadbent were both considered before David Jason’s name entered the frame. By chance, director Ray Butt watched a repeat of Open All Hours, with Jason playing Granville, and knew instantly that he’d found his man.
Did you know?
Only Fools and Horses was originally titled Readies. The name was eventually changed to the former, which had previously been used for an episode of Citizen Smith.
With Lennard Pearce recruited to play Grandad, the opening series kicked off with the episode ‘Big Brother’ on 8 September 1981. The six episodes comprising the first season didn’t set the world alight in terms of audience figures, attracting just under eight million viewers. But this was the era where new programmes were given time to find their feet in the over-subscribed world of TV.
Del had no sense of style.
© Radio Times
Rodney always felt he lived in his brother’s shadow.
© Radio Times
Great writing and sublime acting were the fundamentals behind the success that followed; regarding the latter, the adroit casting which paired David Jason