Beautifully written by Alan Galton and Ray Simpson, this 1970 vignette compares favourably with any kitchen sink drama at the Royal Court Theatre or hogging the BAFTA's at the time. Ironic, as has been said, that the remaining copy is in black and white, since the theme is the onset of colour television.
Harold and Albert share dna, but have diametrically opposed ambitions; Harold wants excitement, glamour and a little bit of - what should we say - personal attention. Albert, sitting at home all day in front of a tiny 1937 black and white television, wants a modern colour one.
As they bicker and argue about Harold's wish to buy a sports car versus his fathers preference for a modern tv, Albert pointedly remarks that the permissive society existed before the sixties, he'd apparently bought a Triumph car for £5 in the year dot and made the most of it, adjusting the gear stick more regularly than strictly necessary, so as to fully enjoy the sort of female companionship his son yearns for.
The argument gets worse, Albert leaves the house and is found wandering the streets by the police suffering from exposure.
At the hospital, Harold is told his father has amnesia, he cannot recognise him but eventually remembers the old horse, Hercules.
Upon returning home, as is often the case, Harold has sacrificed his princely sports car, which gave an amazing new look to the yard, which was to take him and a local girl, who knows him so well, she confuses his name, but falls in love with the car, to Brighton for a colour television.
Upon seeing it, Albert's memory miraculously returns.
There's a beautiful claustrophobic intimacy to scenes between the father and son, the writing is piquant, the outcome inevitable. Harold will always miss out on what he aspires to.
Danny Simons, brother of Neil, who wrote 'The Odd Couple' used to say all the best comedy comes through character.
After more than 50 years, these characters shine through; but that car didn't half look good!
Harold and Albert share dna, but have diametrically opposed ambitions; Harold wants excitement, glamour and a little bit of - what should we say - personal attention. Albert, sitting at home all day in front of a tiny 1937 black and white television, wants a modern colour one.
As they bicker and argue about Harold's wish to buy a sports car versus his fathers preference for a modern tv, Albert pointedly remarks that the permissive society existed before the sixties, he'd apparently bought a Triumph car for £5 in the year dot and made the most of it, adjusting the gear stick more regularly than strictly necessary, so as to fully enjoy the sort of female companionship his son yearns for.
The argument gets worse, Albert leaves the house and is found wandering the streets by the police suffering from exposure.
At the hospital, Harold is told his father has amnesia, he cannot recognise him but eventually remembers the old horse, Hercules.
Upon returning home, as is often the case, Harold has sacrificed his princely sports car, which gave an amazing new look to the yard, which was to take him and a local girl, who knows him so well, she confuses his name, but falls in love with the car, to Brighton for a colour television.
Upon seeing it, Albert's memory miraculously returns.
There's a beautiful claustrophobic intimacy to scenes between the father and son, the writing is piquant, the outcome inevitable. Harold will always miss out on what he aspires to.
Danny Simons, brother of Neil, who wrote 'The Odd Couple' used to say all the best comedy comes through character.
After more than 50 years, these characters shine through; but that car didn't half look good!