This is the latest example of British television dramatising the life (or, as on this occasion, part of it) of a familiar TV or film star from the golden age 50's and 60's, in fact just of the top of my head I can recall seeing programmes on Tony Hancock, Sid James, William "Dr Who" Hartnell, Hughie Green, Hattie Jacques, Shirley Bassey, Morecambe and Wise and most recently Cilla Black. In fact, I'm willing to bet someone's already waiting in the wings to give us the Bruce Forsyth story! It's probably fair to say that there was no more identifiable TV personality of the time than the gentle giant Tommy Cooper, certainly he was the most impersonated man on TV at the time and everybody knew his "Just like that" catchphrase.
Of course the key to making a drama out of such a familiar figure's life, as opposed to another typically fawning documentary with loads of clips and all-star tributes is to highlight some human interest aspect of their life to give it that "soap-opera" element and they didn't have far to look with Cooper. On the surface, a happy husband and devoted family man, in 1967 he hooked up with a younger, also married, female assistant, Mary Fairfield and for the last 17 years of his life, conducted an affair with her, never letting in to his devoted but combative wife, Dove.
Simon Nye doesn't pull his punches in this portrayal of the popular Cooper, showing his miserliness, alcoholism, ill-health and ultimately of course his infidelity but this latter trait isn't portrayed as arising from selfishness or nastiness but more from need. At no point did Cooper apparently ever consider abandoning his family but in order to continue his tireless life on the road and on TV shoots to have required the female companionship his stay at- home was denying him. I'm not sure though that I sympathise too much with the comic's actions, indeed I would say that he was acting selfishly in deceiving so many people so that again we're asked to excuse him purely because he was a comic genius which gives him licence to live differently from the rest of us.
I felt some of the scenes looked apocryphal, none more than the big final scene where the two women in his life pass by each other at the hospital where he's just famously expired on live TV, plus I'm not sure from what I've read that Cooper's son, shown as replacing Mary on the road as his assistant after the affair became known, was so accepting of his father's lover when she came back to assist his shambling efforts.
David Threlfall tries hard to inhabit Cooper's massive boots but it was always going to be difficult to cast a physical lookalike with the talent for imitation and interpretation. The supporting cast, especially Helen McCrory and Amanda Redman as the women in his life, come over better, partly because their unfamiliarity with the viewer makes their characters seem more real. The depiction of the northern club circuit, cheap bed and breakfasts and backstage of television shows were all well drawn, particularly the extended sequence leading up to his death "on-air".
Of course there's always an abiding interest in the tears of a clown as we see behind the facade of another giant TV funny-man and this well-written and well-acted show catered to that even if ultimately it didn't quite answer all the questions about Tommy Cooper's complicated life.
Of course the key to making a drama out of such a familiar figure's life, as opposed to another typically fawning documentary with loads of clips and all-star tributes is to highlight some human interest aspect of their life to give it that "soap-opera" element and they didn't have far to look with Cooper. On the surface, a happy husband and devoted family man, in 1967 he hooked up with a younger, also married, female assistant, Mary Fairfield and for the last 17 years of his life, conducted an affair with her, never letting in to his devoted but combative wife, Dove.
Simon Nye doesn't pull his punches in this portrayal of the popular Cooper, showing his miserliness, alcoholism, ill-health and ultimately of course his infidelity but this latter trait isn't portrayed as arising from selfishness or nastiness but more from need. At no point did Cooper apparently ever consider abandoning his family but in order to continue his tireless life on the road and on TV shoots to have required the female companionship his stay at- home was denying him. I'm not sure though that I sympathise too much with the comic's actions, indeed I would say that he was acting selfishly in deceiving so many people so that again we're asked to excuse him purely because he was a comic genius which gives him licence to live differently from the rest of us.
I felt some of the scenes looked apocryphal, none more than the big final scene where the two women in his life pass by each other at the hospital where he's just famously expired on live TV, plus I'm not sure from what I've read that Cooper's son, shown as replacing Mary on the road as his assistant after the affair became known, was so accepting of his father's lover when she came back to assist his shambling efforts.
David Threlfall tries hard to inhabit Cooper's massive boots but it was always going to be difficult to cast a physical lookalike with the talent for imitation and interpretation. The supporting cast, especially Helen McCrory and Amanda Redman as the women in his life, come over better, partly because their unfamiliarity with the viewer makes their characters seem more real. The depiction of the northern club circuit, cheap bed and breakfasts and backstage of television shows were all well drawn, particularly the extended sequence leading up to his death "on-air".
Of course there's always an abiding interest in the tears of a clown as we see behind the facade of another giant TV funny-man and this well-written and well-acted show catered to that even if ultimately it didn't quite answer all the questions about Tommy Cooper's complicated life.