Tuesday, 5 July 2011

"Rage against the blade" ... Handlebar Club a very special Gentlemen's club.




The Handlebar Club is an association of aficionados of the handlebar moustache, based in London. The club's sole requirement for membership is "a hirsute appendage of the upper lip and with graspable extremities"; beards are absolutely forbidden.[3] The club engages in activism to assuage discrimination against the handlebarred as well as competitive facial hair tourneys, and has inspired the foundation of transatlantic and Scandinavian counterparts. The club declares itself to be at war with a society that demands people choose "the bland, the boring and the generic"; a club chant includes the proposition that being kissed by a smooth face is akin to "meat without the salt".
The world's oldest whisker club, the Handlebar Club was founded in a London pub in April 1947 by a convivial gathering of ten, including raconteurs Jimmy Edwards and Frank Muir as well as sports commentator Raymond Glendenning. Their stated intention was to show that "men with moustaches are men of good character", and the mustachioed cohort resolved to meet monthly for "sport, conviviality" and charitable engagements. Enormous moustaches were quite popular among the flying officers of the Royal Air Force in the Second World War, and in founding the club Edwards sought to perpetuate the custom.



Growing interest

Never be ashamed of your hobby, even if it is just comparing facial hair. The gents of the Handlebar Club tell Sam Delaney why 'hirsute hedonism' matters

Saturday 25 September 2004
The Guardian

There's a group of blokes who meet in a pub on the first Friday of the month to share a pint and discuss facial hair. It might sound like fun and games but, make no mistake, the members of the Handlebar Club consider themselves to be at war. Their war is with a society that tells us to choose the bland, the boring and the generic. A society that tells us to choose Bacardi Breezers, comfortable leisure wear and unisex hair salons. A society that tells us to remain clean-shaven. Most of us haven't had the guts to resist this society's oppressive demands. But since 1947, the fine fellows of the Handlebar Club have stood up to such sinister, homogenising forces in the only way they know how. By growing enormous moustaches.

These days, the club's membership stands at about 100 and the spirit remains as strong as ever. With their furry upper lips, gentlemanly clobber and jaunty demeanours they occupy a little world where it's forever 1947. Stepping into their meeting in a pub off London's Edgware Road is a startling experience. Outside, the neon lights, baseball caps and Gillette Mach 3s of modern Britain abound: inside the air is thick with the smell of pipe smoke, hair wax and good-quality tweed. My arrival at the meeting rudely interrupts an anecdote that had opened promisingly with the words "I had a very sad experience involving my sweater while on holiday". A Field Marshall Hague type eyes me suspiciously. A Terry-Thomas-alike harrumphs into his pint. Suddenly, I wish I hadn't shaved before coming out.

"They're a pretty hard lot to impress at first," points out Michael "Atters" Attree, the group's youngest and most rakish member. "It takes them a while to be convinced by your commitment and character." The qualification for membership is stated in their official documentation as "a hirsute appendage of the upper lip, with graspable extremities". But even if you've got just such an appendage it may not be enough. "Some people have turned up here with decent moustaches but just haven't fitted in," says Atters. "Unpleasant types. You know the sort. We usually end up politely asking them to leave." It appears that the state of a member's mind is just as important as the state of his 'tache. But despite their mild suspicion of outsiders and seemingly fascistic code of grooming (fines are issued to members who allow their sideburns to merge with their moustache) they're a jocular bunch. Asked to describe what takes place at their meetings, most members coyly twirl at their moustaches and mumble something about "administrative matters". Most of them see the get-togethers as a pursuit of what they call "hirsute hedonism".

"We can be a bawdy lot," says Michael Attree. "There's a raw edge to these chaps. Many of them have fought in wars and have a few good tales to tell. Our behaviour remains on the adventurous side." It's an attitude they're keen to promote. "We attend international tournaments but always try to compete with the British sense of fun," says club president Ted Sedman. "The Germans take things much more seriously. They dye their moustaches jet black and curl them round to form complete circles. The furthest most of our members go is to apply a bit of the wife's hairspray!"

Not that their cavalier attitude has stopped them making their mark on the international stage. Every two years members enter the fiercely competitive World Beard And Moustache Championships. These spectacular events are attended by hirsute marvels from across the globe, who do battle in a vast array of facial hair events from the freestyle goatee to the Garibaldi beard. The Germans are usually the team to beat although the Americans, Swiss, Swedish and Norwegians are big-hitters. The Handlebar Club is opposed to beards of all forms but have an impressive record in the moustache categories. At last year's contest in America, Sedman won the Fu Manchu category, while Alf Jarrald scooped the top prize for sideburns. Next year, the championships take place in Berlin and in 2007 the Handlebar Club will organise the event in Brighton. Michael Attree has promised "a parade along the front to marching music ... many awards, speeches, mocking hoots and, of course, jealous tears". Keen to emphasise the club's convivial nature he stresses: "The Germans will be looking to hold on to their trophies but, frankly, I'll be looking to hold on to my gin and tonic!"

The club was always meant to be this way. Jimmy Edwards, the music hall comedian, set it up with Frank Muir and a few friends in April 1947. The inaugural meeting was held backstage at Soho's Windmill Theatre amid a gaggle of showgirls, and resolved to establish a club for "the promotion of the growing of large moustaches ... and for furry fraternising in suitably convivial surroundings of licensed premises". Referring to their moustaches as "smashers", the cohorts devised the motto: "Grow for victory and keep 'em growing. And if you can keep yours when all about you are losing theirs you'll be a man, my son, and what is more, you'll have a smasher."

In its early years the club served as a last refuge for ex-RAF officers whose extravagant moustaches were shunned by the outside world. But, as seasoned member Ronald Duck (yes, that's his real name) notes with bewilderment: "They even let civilians join these days." As the moustache fell further and further out of fashion, the club developed a siege mentality and began to attract the cream of society's mavericks. "When I was an undergraduate at Cambridge everyone was growing a beard to be different," says Ted Sedman. "But I wanted to be even more different so I grew a moustache. I've never even thought about removing it since." All members share an unswerving commitment to the cause. "My wife's never seen me without my moustache and I think that's the same for most of the other chaps," he explains. "We had a young chap join recently who we had high hopes for. But then he went and shaved the damned thing off. It was a terrible shame."

In today's world of goatees and shaven heads it takes a thick-skinned individual to maintain a 'tache. "Of course you get passers-by howling at you," says Attree. "You find yourself walking along through this surreal echoing mockery, but you just have to ignore it and get on with what you're doing." Their meetings may be all about warm beer and gentle banter but the central ethos is one of steely defiance. "People these days are glued to their televisions or computers or the bloody pavement," says Attree. "We're trying to live a more imaginative life." Not that the ridicule is universal. "One thing that every member can vouch for is that women find moustaches attractive," asserts Attree. "It's like Jimmy Edwards once sang: 'Every girl loves a fella with a bush upon his mush!'"


'HANDLEBARS' ON PARADE

ALAN'S 'FACE FLOCK' ASTONISHES THE EXPERTS

A COLLECTION of England's finest moustaches, of all shapes and colours, including one which may well set up a new world record, invaded Copthorne on Sunday, when members of the famous Handlebar Club came to play their annual match with the village cricketers.
For those who are uninitiated into the mysteries of this exclusive club, which boasts 150 selected members, it should be explained that it is laid down in the rules that applicants must have a moustache which attains the length of at least five inches "at rest," or six inches or more "agrin," and must have "graspable extremities."
The objects are to further the growing of moustaches, and by that they mean real ones, and not those growths affected by some youths and known among the members as "Cow's eyebrows" and "Hollywood halos."
Despite the gaiety of the members on Sunday when they arrived at Copthorne, there was an air of underlying sadness for their "Prime Handle-bar", or the possessor of the longest moustache of all - George Hoffman - had recently left for Canada.
There were, it is true, moustaches among the other members which rank with the best one could hope to see adorning the upper lip but although perfect in density and texture - important qualifications - they fell short of George's span of 8½ inches even when angry or surprised.
A dark horse, although his moustache was ginger or should we say auburn, was waiting at Copthorne, however, and when Alan Gear was spotted, nearly a score of moustaches twitched in amazement.
Alan, holder of the D.F.C. as a Battle of Britain pilot, hails from Redhill, and the other members had not seen him for a year. Twelve months ago, he admittedly had a fine specimen of "lip lichen," or "face flock" to use an alternative of the club, but it was hardly worth a second glance.
Now the members could not tear their eyes away, and by unanimous vote they appointed him the new "Prime Handlebar" there and then on the cricket ground.
No one had thought to bring along a ruler or tape measure, and guesswork is not encouraged in matters like this. One of the wives came to the rescue, however, with the aid of a six-inch nail file, and after a considerable amount of unfurling, it was duly recorded to have the amazing span of 10 inches, an all-time record.
Mr. Gear has been carefully cultivating this moustache ever since 1942 when he had a wager with a R.A.F. colleague to see who could grow the longest. It has been getting bigger every year and of recent months has mad remarkable strides in all directions.
Raymond Glendenning, of B.B.C. fame, is president of the Handlebar Club, which was formed two years ago, and Jerry Colonna, the film star, is American president.
The founder vice-presidents are Bill Hooper and Jimmy Edwards. Bill Hooper is better known as "Raff," the famous cartoonist, and creator of the character everyone knows in the Air Force, namely "Pilot Officer Prune." Jimmy Edwards' broadcasts have an audience of millions.
The "Handlebars" arrived at the cricket ground, following lunch at the Duke's Head, and before facing the demon bowling of the Copthorne cricketers hastily fortified themselves with a crate of beer. Their umpire was Flight Lieutenant Tony Dobson, the original "Pilot Officer Prune."
Outsize pipe
Baron Christian de Beer had a bottle of beer in one hand, and a huge pipe weighing a pound or two in the other. The case to hold it was bigger than a miniature wireless he brought along as well, and what with one thing and another, perhaps the reporter can be excused for asking his real name afterwards and finding out he already had it!
As members of the Handlebar Club made a rapid procession to and from the wickets, small children gazed in open-eyed wonder at some of the finer specimens of lip growth.
One young girl seemed to doubt the reality of the jet black adornment on the face of jovial Noel Henkel, the club's secretary. Her gaze of utter disbelief changed to wonderment when she could no longer resist standing on tip-toe, giving it a tug and finding it was a fixture.
"Raff" handed to the "Observer" of a copy of his funny little book "You Can't Laugh It Off!" which is termed a history of the moustache. This book, which has sold thousands of copies and raised many more laughs, deals with every aspect of the moustache, in such chapters as "The Dawn of Down," "Advice to the Expectant Moustachee," "Deformities of the Moustache" and "Whiskers of the World."
It might well be termed the official handbook of the Handlebar Club, and it gives some excellent advice to those who are hoping to gain membership.
"Raff" points out that if a growth is not doing well at the start, it is seldom satisfactory to accept a cutting from other wearers. Grafting is far from successful, he says, and is a ticklish business at best.
Heavy drinking during the growing period is discouraged, as constant swamping of new shoots can lead to that sad state seen in hardened drinkers known as "Booser's Droop"
The book points out that on no account should the hopeful grower allow himself to receive great shocks. If the hairs are allowed to stand too often on end, they will stay that way, and become known as "Shocked Flock."
If in the advanced stages of growing a "handlebar" the aspirant develops a staggered step, and a tendency to stoop forward, it is nothing to worry about, but only nature adjusting itself to take the extra weight on the face.
"Raff" also deals with pests of the moustache. During the bird-nesting season he advises that small mirrors or bright tin lids attached from ear to ear on a piece of string are the best deterrent against feathered friends making a nest in the moustache when the wearer is taking a nap in the open.
For night sleeping he says a camphor ball in each nostril will prevent attack by moths, and lastly, a weekly spraying with a powerful approved insecticide will save any trouble occasioned by green fly.



Sunday, 3 July 2011

In Memoriam ... of a Great Gentleman ... Ian Carmichael





Ian Carmichael
Ian Carmichael, the actor, who died on February 5 aged 89, personified the affable, archetypal silly ass Englishman in scores of revues, light comedies, films and television programmes.
To his wide-eyed boyish grin, bemused courtesy and trusting manner, Carmichael brought an invaluably comic air of innocence to bear on his thousand and one misfortunes. His old-world manners were his technical lifeline, and the lightness of his touch on stage and screen ensured the effect of often-thin material.
He had a particular success in Boulting film comedies of the 1950s. As a conscript in Private's Progress, for example, he immortalised the fears and miseries of a whole generation of National Servicemen.
In Brothers In Law he incarnated another gentle innocent at large in a bewildering institution, the legal profession.
But it is probably his portrayals on television of PG Wodehouse's dithering Bertie Wooster and Dorothy L Sayers's elegant Lord Peter Wimsey which underlined his gifts as an exponent of the light English comedy of manners to greatest effect.
If he eventually resented his having been typecast as “the same old bumbling accident-prone clot,” audiences never seemed to tire of him and he polished this persona with great care.
Ian Gillett Carmichael was born in Hull on June 18 1920. His father was an optician in a family firm of jewellers and silversmiths, and young Ian went to preparatory school at Scarborough and then to Bromsgrove School, Worcestershire.
He was not academically inclined, preferring to lead the local dance band until the stage took his fancy and he studied for a spell at the Royal Academy of Dramatic Art.
After playing a Robot in Karel and Josef Kapek’s RUR at the People’s Palace, Mile End, in 1939 and Claudius in Julius Caesar (Embassy, Swiss Cottage), he toured in a revue, Nine Sharp, in 1940 before being commissioned for the Army at Sandhurst. During the Second World War he was a major with the 30th Armoured Brigade, was mentioned in dispatches, and afterwards returned to the theatre.
It was during a seven-month tour in a comic double act with the veteran actor Leo Franklyn in The Lilac Domino in 1949 that he believed he received his best grounding as a light comedian.
After playing Otto Bergmann in a London revival of Wild Violets, Carmichael moved into West End revues, then much in fashion. The Lyric Revue (Lyric, Hammersmith, 1951) transferred to the West End to become The Globe Revue (Globe, 1952). He was the dashingly-handsome song-and-dance star of High Spirits (Hippodrome, 1952). Another Hammersmith revue, At The Lyric, moved to the St Martin’s in 1954 under the title of Going To Town.
In these sometimes brilliant shows which satirised the fashions and foibles of the day, Carmichael’s timing and gravely expressive features enriched scores of sketches as a polite and easily embarrassed Englishman, trying to change his clothes discreetly, for example, or to assemble a recalcitrant deck chair.
Few comedians knew how to look more comically, humanly afraid. His apprehensive subaltern — standing rigidly to attention on the parade ground as an offstage sergeant barked a string of commands which he knew he would never be able, as expected, to repeat to his platoon — was a model of silent, facial panic.
Such talent was soon in demand for light comedy, and Carmichael’s harassed television producer in Alan Melville’s Simon and Laura (Strand, 1954), trying to prevent the marital tantrums of a famous acting couple from spilling into the soap opera they were appearing in about their “blissful” marriage, led to other leading West End parts. Tunnel of Love (Her Majesty’s, 1957) and The Love Doctor (Piccadilly, 1959), a musical farce from Molière, were followed by Alec Coppel’s murder-farce The Gazebo (Savoy, 1960), Ira Levin’s satire about theatre reviewers, Critic’s Choice (Vaudeville, 1961), and Melville’s Devil May Care (Strand, 1963).
After Carmichael’s New York debut in the farce Boeing-Boeing in 1965, he was back in London in the Willis Hall-Keith Waterhouse hit, Say Who You Are (Her Majesty’s, 1965) before what seemed like the only serious-minded play of his career, Shaw’s Getting Married (Strand, 1967).
A dullish, two-handed musical comedy in which he played opposite Anne Rogers, I Do! I Do! (Lyric, 1968), was best remembered for a voice crying out from the front stalls when an offstage knocking was heard at a door: “For God’s sake let them in — whoever it is!”
Carmichael also toured Canada and South Africa in light comedies; and in the 1970s was at the Oxford Festival in Springtime for Henry and in the West End comedy Out On A Limb (Vaudeville).
It was the film version of his first straight stage success, Simon and Laura (1955) which established Carmichael on the screen. The following year his portrayal of an artful conscripted dodger in the Boultings’ comedy Private’s Progress endeared him to everyone who had ever been called up; and the character returned, fleetingly, in I’m All Right, Jack (1959). In this picture he had just been demobilised and, in looking for work, became caught in a wrangle between capitalists and trades unionists from which he emerged, inadvertently, triumphant.
Meanwhile there had been the title role in the not-very-successfully filmed Kingsley Amis novel Lucky Jim. Then came Happy Is The Bride, a Boultings’ comedy about rural society weddings, and Left, Right and Centre, in which Carmichael played a television personality who stands for parliament.
In School for Scoundrels (1960) he attended an academy to learn how to shed his gentlemanly inhibitions while competing for a young woman’s hand, and in Heavens Above (1963) he had a guest part as a confused cleric in a Boultings’ satire about the Church.
Other films in which he appeared, with variable success, included Light Up The Sky (1960), The Amorous Prawn (1962), Smashing Time (1967), From Beyond The Grave (1972) and The Lady Vanishes (1978) in which somewhat impertinently Carmichael re-created, with Arthur Lowe, the comic duo of Caldicott and Childers originated by Basil Radford and Naunton Wayne in the Hitchcock original of 1938.
In the late 1960s television saved Carmichael’s career from film roles of increasing predictability; and in The World of Wooster, later known as The World of Wodehouse, for the BBC, he turned with gratitude to Wodehouse’s bemused, stuttering Bertie Wooster.
With Dennis Price as Jeeves, this was something of a triumph. Price may have been the better casting and may have given the better performance, being the better actor, but Carmichael could count on his personal charm to see him safely through the 20 highly-rated episodes in which both actors worked together with great skill. He also earned critical approval for the BBC series Bachelor Father (1970-71).
But Carmichael took a special pride in his portrait of Dorothy L Sayers’s aristocratic detective in the television series Lord Peter Wimsey, in which he appeared between 1972 and 1975, because he himself had worked hard to see the stories screened. To Carmichael, Wimsey had always been a hero, and envied him his aristocratic insouciance, style and intellect.
More recently on television he played Mr Middleditch in The Royal, the 1960s hospital spin-off from Heartbeat, both of which were filmed near his home in North Yorkshire. Carmichael also directed several light entertainment television series such as Mr Pastry’s Progress, It’s A Small World and We Beg To Differ.
A lifelong cricket lover, he was a member of the MCC and chairman of the Lords’ Taverners in 1970. He was appointed OBE in 2003.
Carmichael became a much-loved figure in the Esk valley near Whitby, where he had lived since the 1970s. In old age he retained his good looks and elegant figure, and was a convivial host, with a taste for fine wines.
He remained loyal to his wartime regimental comrades of the 22nd Dragoons, and always turned out (immaculately) for the Remembrance Day service at Helmsley, where the regiment was billeted at Duncombe Park.
Ian Carmichael married Jean Pyman (Pym) Maclean whom he had met at Whitby during the Second World War. She died in 1983. In 1992 he married the novelist Kate Fenton, who survives him with two daughters of his first marriage. ( in The Telegraph 6 Feb 2010 )


Bond Street (1948)
Trottie True (1949)
Dear Mr. Prohack (1949)
Ghost Ship (1952)
Time Gentlemen, Please! (1952)
Miss Robin Hood (1952)
Meet Mr. Lucifer (1953)
Betrayed (1954)
The Colditz Story (1955)
Storm Over the Nile (1955)
Simon and Laura (1955)
Private's Progress (1956)
Lucky Jim (1957)
Brothers in Law (1957)
Happy is the Bride (1958)
The Big Money (1958)
Left Right and Centre (1959)
I'm All Right Jack (1959)
School for Scoundrels (1960)
Light Up the Sky! (1960)
Double Bunk (1961)
The Amorous Prawn (1962)
Heavens Above! (1963)
Hide and Seek (1964)
Ih, du forbarmende (1965)
Smashing Time (1967)
The Magnificent Seven Deadly Sins (1971)
From Beyond the Grave (1973)
The Nine Tailors (1973)
The Lady Vanishes (1979)
The Wind in the Willows (1983) (voice)
Diamond Skulls (1989)



Carmichael, seen here in 1975, conveyed a sense of dignity not only in aristocratic roles, but also as the buffoon and as a national symbol of the muddling-through Englishman. Photograph: Duffy/Getty Images
Playing the archetypal silly ass was the sometimes reluctant business of the stage, film and television actor Ian Carmichael, who has died aged 89. In the public mind he became the best-known postwar example of a characteristic British type - the personally appealing blithering idiot who somehow survives, and sometimes even gets the girl. One of his most characteristic and memorable sorties in this field was his portrayal of Kingsley Amis's Lucky Jim – the anti-hero James Dixon, who savaged the pretensions of academia, as Amis had himself sometimes clashed with academia when he was a lecturer at Swansea. Appearing in John and Roy Boulting's 1957 film, he was able to suggest an unruly but amiable spirit at the end of its tether, his great horsey teeth exposed in the strained grimace that often greeted disaster.

Carmichael made several more hugely popular comedy films with the Boultings in the second half of the 1950s, including Private's Progress, Brothers In Law and I'm All Right Jack, but always wanted to do more straight roles. The nearest he came to it was his Lord Peter Wimsey in the television series based on Dorothy L Sayers's amateur detective (1972-75), a role he felt very happy in. Laurence Olivier once offered him a part in a Graham Greene play that he had in mind for television, but, like other possible projects, it came to nothing.

Late in Carmichael's career, when he had semi-retired back to his native Yorkshire, the Boultings told him that they wondered if they had done their best for his talents in the five-film deal they made with him near the start of his film career: perhaps they should not virtually have confined him to the playing of twerps. The light comedy producer Michael Mills used him early in his career, and years later made The World of Wooster (1965-67) with him. As PG Wodehouse's silly ass Bertie Wooster, Carmichael was constantly saved from disaster by his manservant Jeeves, played by Dennis Price, a formula so effective that Mills doubted whether Carmichael could have played straight parts without provoking laughs.
What made Carmichael notable was that he could play fool parts in a way that did not cut the characters completely off from human sympathy: a certain dignity was always maintained, so that any pathos did not become bathos. He was at the opposite pole to Norman Wisdom, whose conscious pathos irritated some people. Carmichael once said waspishly of Wisdom's ragged-urchin persona that any character he played was unbelievable because no girl, except a film starlet under orders, would ever settle for him. It was not a limitation from which the handsome, cricket-loving Carmichael suffered.
He was born in Hull, the son of an optician in the family's smart silversmith's and jeweller's shop in the centre of the city. His mother's father was a lay preacher who had wanted to become an actor, but neither parent had stage ambitions. His father was disappointed when the boy hated school at Scarborough college (so much so that he vowed never to set foot in the place again) and hated it a little less at Bromsgrove school, Worcestershire, where he distinguished himself by hitting his own wicket during a cricket match so that he could get back to two girls he was entertaining in the bushes.
However, his father swallowed his disappointment and financed him to go to Rada, in London. In his first year he played the robot in Karel and Joseph Capek's surreal play, RUR, at the People's Palace, Stepney, east London, and, more significantly, toured the regions for a few weeks in a tour of a Herbert Farjeon revue, Nine Sharp. Then war broke out and Carmichael joined the 22nd Dragoons, a recently formed tank regiment at Whitby. There he met Jean Pyman (Pym) Maclean: they married in 1943 and had two daughters. Nine years after Pym's death in 1983, he married the novelist Kate Fenton.

Carmichael was mentioned in despatches, but his war was distinguished chiefly by a staff job behind a desk, arranging entertainment, in the course of which he found he was good at the detail of administration. He admitted in a BFI interview at the National Film Theatre in 2002 that he had always had to bear the cross of initially finding Frankie Howerd "death-defyingly unfunny" when auditioning him in Germany, though had the sense to defer to a colleague's better judgment. However, he recognised the talent of the comic magician Tommy Cooper and helped him get a break.

After demobilisation, Carmichael did a lot of work for the revived BBC television service at Alexandra Palace, north London – directing and producing as well as performing. A tour of the operetta The Lilac Domino in 1949 brought him into contact with the comedian Leo Franklyn, from whom he learnt the "ABC of comedy... all the tricks of the trade". Carmichael then made his name in The Lyric Revue (1951-52) and The Globe Revue (1952-53) in the West End. For the latter he devised the comic business for a sketch in which, as an ultra-respectable little man, he had to undress on a beach and get into his swimming costume, protected from exposing himself only by panicky use of his raincoat and bowler hat. When the Boulting Brothers saw this sketch, it set them thinking. When they got round to seeing Simon and Laura, Alan Melville's play about the tensions and sentimentalities of a marriage of actors, in which Carmichael played a frantic TV producer trying to prevent the combative pair from ruining his show, they insisted he play the same part in the film version they were planning at the time. Later they told his agent they wanted to make him a film star and offered him the five-film deal. To sweeten the prospect, they sent him two comic novels, Alan Hackney's Private's Progress (the film of which followed in 1956) and Henry Cecil's Brothers in Law (1957).
Out of this deal came the films that made Carmichael a national symbol of the muddling-through Englishman. In I'm All Right Jack (1959), he played the decent but slightly daft young executive, Stanley Windrush, while Peter Sellers appeared as the pompous shop steward – an even-handed cinematic satire on both management and trade unions. Later he even portrayed one of the cricket-mad buffoons fighting back against Balkans devilry (originally made famous by Basil Radford and Naunton Wayne) in the 1979 remake of Alfred Hitchcock's The Lady Vanishes.
By then, Carmichael had admitted to being a would-be Peter Pan who hated the thought of ageing, and said he was growing too old to go on playing the sort of parts that had made him famous. He had always expressed a dislike of London. Some friends took this with a pinch of salt in view of his handsome house in Hampstead but, with his two daughters now grown up, he bought a house on the North Yorkshire moors, which he remembered visiting on day trips as a boy. It was also near Whitby, where he had met his first wife.
Such sentiment was part of his character and appeal. He continued to be available for work that took his fancy, such as narrating the television series The Wind in the Willows (1984-88), but was the victim of ill-health, and appeared ever more rarely as the portrayer of an English type now likely to provoke more irritation than laughter. Nonetheless, there were still roles for him in the nostalgic drama series always in demand for Sunday-evening television: the 1950s Scottish laird Sir James Menzies in Strathblair (1992-93), Lord Cumnor in Elizabeth Gaskell's Wives and Daughters (1999), and the hospital secretary TJ Middleditch in The Royal, from 2003 onwards. The last two episodes in which he appeared are due to be screened later this year.
He was appointed OBE in 2003, and is survived by Kate and his daughters.
• Ian Gillett Carmichael, actor, born 18 June 1920; died 5 February 2010
Dennis Barker
guardian, Saturday 6 February 2010


Ian Carmichael’s amiable idiocy on stage and screen was supreme but his talent went deeper than that. In there somewhere was also a gentle but well defined sexual charm that women adored; at his peak in films such as Private’s Progress, I’m All Right Jack, Brothers-in-Law and Lucky Jim they were writing him up to 600 fan letters a week.
Slightly built with nervous blue eyes, he hardly measured up to the accepted screen hero on any Hollywood scale. Yet at the height of his 15-year run as a guaranteed box-office draw at the cinema, he became the best known British comedy actor abroad after Alec Guinness. He once beat the pelvic Elvis Presley in an international popularity poll.
The film-making twins Roy and John Boulting, who established Carmichael’s film career in the 1950s with six successive hits when Britain still possessed a film industry, were forced to introduce a stronger love interest for the characters he played. They cast him because they wanted a non- heroic leading man who was instinctively and humorously inept at whatever he tackled; but they hadn’t bargained for the added bonus of the actor’s erotic appeal to women.
This same dithering sexual attraction was carried over into his repeated successes on stage. He achieved long West End runs in romantic comedies such as The Gazebo, Tunnel of Love, Simon and Laura and the celebrated Lyric Review, later the Globe Review of 1951-52, which first made him a star.
His popularity was sustained because, although women yearned to mother this helpless charmer, men liked him too. They readily sympathised with his blundering reactions to life’s difficulties and did not see him as a threat to their wives and girlfriends.
As with other stage and film actors in the postwar years, Carmichael was initially wary of television, then still finding its way. However, he was to change his mind as the content and production techniques improved and film offers became less frequent. In fact, television was to give his career a fresh and timely impetus with two memorable roles tailor-made for his gossamer style of comic acting. One was P. G. Wodehouse’s monocled man-about-town Bertie Wooster; the other Dorothy L. Sayers’s urbane amateur sleuth, Lord Peter Wimsey.
For an entertainer, especially for such a successful one, Carmichael was remarkably self-effacing. He often expressed, in press interviews, candid astonishment at his continued run at the top of an insecure profession. A lover of the country, he preferred serene pursuits like reading, wandering about his garden and his beloved cricket — he played for the Lord’s Taverners. He loathed the West End. He hated New York even more.
When his first Broadway venture in the mid-1960s, starring in the comedy Boeing Boeing, survived only three weeks after a critical savaging, he was blandly philosophical, calling it a “nice little flop”. He remarked that he hadn’t relished living in Manhattan for a year anyway; and it was not a case of sour grapes, the homesick actor meant it.
Even Paris failed to appeal, particularly after an experience that could have come from one of his films.
On a rare visit for the premiere of Private’s Progress, he drank too many unaccustomed dry Martinis and ended up at the top of the Eiffel Tower demanding to know why no one had introduced him to the then celebrated Lady Docker. “Made a bit of an ass of myself, old chap,” he later confided in an interview. Another episode, a more serious one, yet it bore the unmistakable comic familarity of his Boulting scripts, happened during the Second World War when he was serving in the Royal Armoured Corps as a tank officer. In clambering from the turret of a Valentine tank he inadvertently slammed the lid down on his left hand leaving him minus the top joint of the longest finger. “Dashed unfortunate” was his summing up of that incident.
Ian Carmichael was the only son of Arthur Carmichael, a prosperous Hull jeweller and silversmith. Carmichael Sr had expected that his son would take over the running of the business. Instead, after attending prep school in Scarborough and going on to Bromsgrove in Worcestershire, the young Carmichael made it plain that his ambition was to enter show business — either acting or in music.
He ran his own band during school holidays, playing the alto saxophone and the drums at local dances. However, acting was to be his eventual preference when he won a place at RADA. In his second term he made his first professional stage appearance, playing a robot in a play called RUR (Rossum’s Universal Robots) at the People’s Palace in the Mile End Road, Stepney, East London.
His first wage-earning tour after graduation was 10 weeks with the Herbert Farjeon Revue in which his emerging comedy talents were given their first real polish. In September 1940 his call-up papers arrived and he enlisted with the RAC and was eventually commissioned at Sandhurst.
Early in the war, while stationed at Whitby, he met his wife-to-be, Yorkshire girl Pym Mclean, at a dance. He wrote later in his autobiography Will the Real Ian Carmichael... that he knew she was the one for him because “she never once yawned during my incessant chatter about the theatre and its personalities”.
They were married in 1943 and were to have two daughters. His war service included landing with his regiment, the 22nd Dragoons, on the Normandy beaches on D-Day Plus Three and campaigning through France and into Germany. No longer a regimental officer after the amputation mishap, he proved to be a brilliant administrator in a staff capacity. In the last year of the war he was seconded to troop entertainment and with Major Richard Stone, who was subsequently to become his agent, produced 20 shows; he was demobilised in 1947 with the rank of major.
He resumed his stage career with a nine-month West End run in the play She Wanted a Cream Front Door. There followed roles in some of London’s fringe theatres and his first stab at television in early musical and comedy shows at the BBC’s Alexandra Palace. He appeared alongside Desmond Walter-Ellis, Lois Green, Diana Decker, Charles Hawtrey and Edward Rigby in programmes with titles such as Give My Regards to Leicester Square and Tell Her the Truth. The BBC, aware of his wartime experience in producing shows for the troops, persuaded a nervous Carmichael to become a freelance director of some of its revue programmes.
His growing comedy prowess received an added boost from a master when he toured with the Whitehall farce veteran Leo Franklyn in The Lilac Domino. He toured for the impresario Prince Littler in a revival of the prewar musical Wild Violets in spite of reservations because of “an insipid script”. He was won round by Littler increasing his salary a fiver at a time until finally he could no longer afford to refuse. He was saddened, though, to realise that he was living proof that “everyone has his price”.
Stardom came with the Lyric and Globe Reviews but he was to make his real mark in 1954 with the new Alan Melville runaway hit Simon and Laura produced by Hugh “Binkie” Beaumont, and which was later filmed with Carmichael the only member of the stage cast to be signed. In Simon and Laura he played a wildly enthusiastic television producer trying to grapple with a daily soap opera about an ideal marriage involving the fiery and constantly rowing couple Simon (Roland Culver) and Laura (Coral Browne). In the film they were played by Peter Finch and Kay Kendall.
Carmichael’s film career took off over the next decade with the long run of Boulting Brothers comedies, although he was also seen in serious roles, including playing a guards officer in The Colditz Story and Tom Willoughby in Storm over the Nile, a remake of the A. E. W. Mason novel The Four Feathers. As the film industry foundered and the roles began to dry up, he moved smoothly back to television and won large audiences with his Bertie Wooster and Lord Peter Wimsey series before semi-retiring to the North Yorkshire moors. He returned to television as recently as 1992 when, at 71, he played a Scottish laird in the BBC series Strathblair. In 1999 he played Lord Cumnor in the BBC adaptation of Mrs Gaskell’s Wives and Daughters. He was working up until last year, with a part in ITV’s long-running medical drama The Royal.
He had, possibly, one professional regret. He once remarked: “My ambition is to become a romantic leading man (his role model was Rex Harrison) but it is hard to achieve when the public wants you to be funny all the time.”
He was appointed OBE in 2003. His wife Pym died of cancer after 40 years of marriage. He is survived by his second wife, the novelist Kate Fenton, whom he married in 1992, and by his two daughters.
Ian Carmichael, OBE, actor, was born on June 18, 1920. He died on February 5, 2010, aged 89 ( From The Times. February 8, 2010 )