This episode pulls off a narrative of wildly
escalating circumstances rather well - something that many sitcoms of this
period habitually failed at. The climax is of a piece with many of Graham
Chapman's Monty Python sketches, with more and more distinct and loud
people turning up and crowding out an initially controlled and low-key situation.
Much of the success lies in the patient set-up. Its Saturday night at the Prince of Denmark, but the place is dead, with only a few regulars in attendance. The script doesn't stint on conveying the inertia and boredom of the situation, spending a good half of the episode following Ronnie trying to fill the time by failing to entertain the punters with his jokes, dancing and attempts at sophisticated conversation. This walks a fine line with some skill, conveying inertia convincingly while incorporating just enough off-the-wall imagery and exchanges to prime the viewer for the eventual bizarre chaos. It's a cleverly orchestrated piece with each new customer - the heavily-pregnant wife, the centenarian - having something to contribute to the conclusion that isn't immediately telegraphed to the viewer.
Much of the success lies in the patient set-up. Its Saturday night at the Prince of Denmark, but the place is dead, with only a few regulars in attendance. The script doesn't stint on conveying the inertia and boredom of the situation, spending a good half of the episode following Ronnie trying to fill the time by failing to entertain the punters with his jokes, dancing and attempts at sophisticated conversation. This walks a fine line with some skill, conveying inertia convincingly while incorporating just enough off-the-wall imagery and exchanges to prime the viewer for the eventual bizarre chaos. It's a cleverly orchestrated piece with each new customer - the heavily-pregnant wife, the centenarian - having something to contribute to the conclusion that isn't immediately telegraphed to the viewer.
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