Hilarious credit sequence – I dare you not to laugh at the banana gag – sets the standard for this virtually silent slapstick vehicle featuring the cream of British television comedians. Hapless construction workers Eric Sykes (The Liquidator, 1965) and Tommy Cooper (The Cool Mikado, 1963) meet their match in the shape of a piece of wooden flooring. Running gags involve a car, a policeman with a bigger eye for a pretty girl than his duty, a car that is soon denuded of all its working parts, paint, rubbish and a pub.
But mostly this is driven by the antics of the bewildered pair, masters of the double-take and pained expression. Even when you think you can see the joke coming a mile off, some other piece of clever invention will take the idea in a completely different direction. Not reliant on clever dialogue, it’s one brilliantly imagined sequence after another. The plot, such as it is, is nothing but a succession of funny incidents.
British audiences were enjoying a small run of semi-silent comedies from A Home of Your Own (1965) through to Futtock’s End (1970), the hand of Bob Kellett behind this series of unlinked movies, but the difference between these and a gem like The Plank is that the latter was written and directed by a comedian (Eric Sykes) who understood timing and above all comic possibility. Clearly silent comedy classics provided much of the inspiration and Sykes has the sense not to spoof that genre but to create twists on originals.
The all-star comedy cast includes Jimmy Edwards (Bottoms Up, 1960), Carry On alumni Hattie Jacques and Jim Dale, Roy Castle (Dr Who and the Daleks, 1965), Sunday Night at the London Palladium television host Jimmy Tarbuck making his movie debut, Graham Stark (The Wrong Box, 1966) and the only straight actor among them Stratford Johns (BBC’s crime drama Z Cars, 1962-1965).
Too short at 45 minutes to qualify as a feature, it played for several years as a support to different movies and was often far more entertaining than the films it supported.
2 thoughts on “The Plank (1967) ****”
Yup, even Futtocks End has got some brilliant gags, like the moving hedge, but the malaise of sex and dolly birds was getting in the way of the comedy by then…
LikeLiked by 1 person
This is minus the dolly birds and Futtocks more obvious kind of humour. Pure joy.