CHAPTER III You Will Be Watching …

      Begin with an individual, and before you know it you find that you have created a type; begin with a type, and you find that you have created – nothing.

      F. SCOTT FITZGERALD¹

      DAD’S ARMY²

      Anyone other than David Croft would surely have been in grave danger of hyper-hyphenating: already installed as producer-director-co-writer of Dad’s Army, he now added to his multiple responsibilities by assuming control of casting as well. ‘There was never going to be any doubt about that,’ he explained. ‘Right back in the earliest days of my career, when I was offered a casting person, I’d said, “No way – that’s my business!”, and I’ve always stuck to that. If you don’t know who you want in a show, you shouldn’t be doing the job, quite frankly. Certainly, as far as the established characters are concerned, you should know exactly who you want – even if you can’t get them.’³

      Croft, in fact, was not just good at casting a show; he had a genius for it. Just like the classic Ealing movie comedies of the 1940s and 1950s – whose distinctive tone and texture owed as much to those actors (such as Miles Malleson, Hugh Griffith, Jack Warner, Gladys Henson, Clive Morton, Basil Radford and Naunton Wayne) who regularly animated the background as they did to those (such as Alec Guinness, Joan Greenwood and Cecil Parker) who frequently filled in the foreground – Croft’s situation-comedies were all about believable little worlds rather than brilliantly big stars. Throughout the first half of the 1960s he had cherry-picked the choicest character actors in British television comedy until, in effect, he had assembled his own unofficial repertory company, his own private Ealing. All of the following actors were used by Croft in one or more episodes of both Hugh and I and Beggar My Neighbour and would go on to feature in one or more episodes of Dad’s Army: Arnold Ridley, Bill Pertwee, James Beck, Edward Sinclair, Harold Bennett, Felix Bowness, Arthur English, Carmen Silvera, Robert Raglan, Queenie Watts, Robert Gillespie, Julian Orchard, Jeffrey Gardiner and Jimmy Perry. The familiarity bred contentment: the audience knew who was who, and the director knew who could do what. It was inevitable that the close-knit community of Walmington-on-Sea would be composed predominantly of Croft’s people.

      Jimmy Perry, however, was disappointed to learn that he would not, on a regular basis, be joining them. Michael Mills had argued that the show’s creator and co-writer would have to make up his mind as to which side of the camera he most wanted to be, and David Croft had concurred: ‘Jimmy, I knew, had set his heart on playing the spiv – he’d actually written it with himself in mind – but I felt that, as one of the writers, he would be needed in the production box to see how things were going. I also felt, I suppose, that it wasn’t going to make for a particularly happy cast if one of the writers gave himself a role – the other actors would’ve been inclined to say that he’d written the best lines for himself.’⁴ Perry was by no means the first writer to find that his cunning plan had suddenly gone awry. Back in 1960, for example, the American writer Carl Reiner had created his very own starring vehicle (Head of the Family), basing the leading role of Rob Petrie expressly on himself, only to be informed by his producer that Dick Van Dyke was much more suited to playing himself than he was (and the show, as a consequence, was relaunched as The Dick Van Dyke Show).5 Perry’s sense of disappointment, nonetheless, was immense: ‘I always resented it. Always. I wrote Walker for myself. That’s how it had all started. And I wanted to be on both sides of the camera. But Michael Mills didn’t think it was a good idea and neither did David, and, in those days, I was in no position to argue. So that was that: very sad, but there you are – you can’t have everything.’⁶

      The casting process, from the first casual discussion to the final collection of contracts, lasted several months, beginning in mid-October 1967 and ending in early March 1968. The genealogy of the characters (who were little more, so far, than garrulous strangers on paper but already intimate friends within the minds of Croft and Perry) contained the clues. Mainwaring, for example, was a composite of three people from Perry’s past: the manager of his local bank, the head of a Watford building society and Will Hay’s chronically incompetent, permanently harassed, on-screen persona (there had been a ‘Colonel Mannering’ – ‘known to the press as “the uncrowned king of Southern Arabia”’⁷ – in The Life and Death of Colonel Blimp, but the name ‘Mainwaring’ was chosen for its comically ambiguous, class-sensitive pronunciation). Wilson was prompted by Perry’s aversion to the stereotypical sergeant figure:

      I’d been a sergeant myself, you see, and one day, while I was serving in the Far East, this major had come up and said to me: ‘Sergeant Perry, why do you speak with a public school accent?’ And I’d replied: ‘Well, I suppose because I went to a public school.’ So he said, ‘Oh. But still: a sergeant speaking like that – it – it’s most strange!’ Well, the man was an idiot. There were more than a million men in the Royal Artillery alone, and they came from all walks of life. So this cliché that a sergeant should always look a certain way and sound a certain way – it’s just a cliché, and I wanted to get right away from that.⁸

      Jones owed much to the elderly raconteur with whom Perry had served in the Home Guard, and a little to the bellicose sergeant at Colchester barracks who had taught him bayonet drill (‘Any doubt – get out the old cold steel, ’cause they don’t like it up ’em!’).⁹ Godfrey was a throwback to the Edwardian era, when discreet and deferential shop assistants would inquire politely if one was ‘being attended to’;¹⁰ Walker was drawn from memory – not only of real wartime wide boys, but also, inevitably, of the still-vivid ‘Slasher Green’, Sid Field’s kinder, gentler, comic parody; Frazer was formed