John Cleese

John Cleese

Date of birth: 27-10-1939
John Cleese is one of the towering figures of British comedy, both physically and metaphorically, the respect he earned from Monty Python and for creating Fawlty Towers undimmed by the less consistent work of his later career.

Cleese was born in Weston-Super-Mare, His father, Reg, an insurance salesman had originally been called Cheese, but changed his surname when he joined the army to avoid being taunted.

John was was privately educated at St. Peter's Preparatory School; Clifton College, Bristol, and Downing College, Cambridge, where he read law and, crucially, joined the Cambridge Footlights, where he met Graham Chapman, with whom he started writing.

Although initially turned down for the troupe, he wrote for their revue in 1961, 1962 and 1963, starring in the latter two productions. It was the 1963 show, A Clump Of Plinths, that gave him and his co-stars their first break; taking the Edinburgh Fringe by storm, then transferring to the West End, Broadway, and a tour of New Zealand under the name Cambridge Circus.

After the New York run, Cleese decided to stay on in the US as an actor, with roles in such stage shows as Half A Sixpence, and trying his hand at journalism, working for Newsweek. While in America he met Terry Gilliam, who was working for a magazine called Help! (he recruited Cleese to appear in a photo-story) as well as a waitress and aspiring actress called Connie Booth, who he would marry in 1968. She gave birth to their only child, Cynthia, in 1971.

Back in Britain, Cleese was given a job as a writer with BBC radio, working on such programmes as The Dick Emery Show, and making the sketch show I’m Sorry I’ll Read That Again with his Cambridge Circus co-stars. The show eventually ran from 1965 to 1974.

In 1965, Cleese and Chapman started writing for David Frost’s The Frost Report, and he also appeared on the programme, including the classic class-based sketch in which he appeared alongside Ronnies Barker and Corbett, each looking up or down on each other. Future Monty Python members Eric Idle, Terry Jones and Michael Palin were also on the illustrious writing team.

Cleese and Chapman also wrote episodes of Doctor In The House, and in 1965 were invited to work with Tim Brooke-Taylor and Marty Feldman on At Last The 1948 Show – the title jokingly referring to the length of time it took the BBC to commission the programme.

In 1969, Cleese and Chapman were offered their own series. But Cleese, reluctant to take the responsibility in the light of alcoholic Chapman’s unreliable behaviour, invited Palin to join them. Since Palin was awaiting an ITV commission with Idle and Jones, they came on board, too, along with Gilliam – and so Monty Python was born as an ensemble piece.

The BBC series ran for four series, from October 1969 to December 1974, but Cleese did not take part in the final run, feeling that the troupe had reached its prime.

However, he was persuaded to return for the film Monty Python and The Holy Grail in 1975, and they subsequently made Life Of Brian and The Meaning Of Life for the big screen, too.

From 1970 to 1973 Cleese served as rector of the University of St Andrews, a role he took surprisingly seriously.

Cleese managed to follow Python with an even more enduring creation, Basil Fawlty, the rude, exasperated hotelier based on a real person, Donald Sinclair. He and Booth, who co-created the series, had been inspired by Sinclair’s bizarre antics running the Gleneagles Hotel in Torquay, where they stayed during location filming on Python – including hiding Idle’s briefcase behind a garden wall, fearing it was a bomb.

The first series began in Septmeber 1975 – but it was four years until the second appeared, due in part to Cleese and Booth’s meticulous planning of each episode. By the time the second series appeared, the couple’s marriage had failed, but they still managed to write together.

He married Barbara Trentham on February 15, 1981. Their daughter Camilla was born in 1984, but they divorced in 1990.

In 1982 he rejoined the Pythons for their Hollywood Bowl show, and masterminded the Amnesty International benefit The Secret Policeman’s Ball, persuading many of comedy’s top stars to take part. Cleese also set up a training company, Video Arts, using his comedy talents in films designed to help workers in their jobs. The company netted him and his three co-founders a total of £42million when it was sold in the late Eighties.

He also has a keen interest in psychotherapy, and has written two books with analyst Robin Skynner: Families And How To Survive Them and Life And How To Survive It.

Outside Python, his Eighties film roles include Time Bandits, Privates On Parade, Yellowbeard, Silverado, Clockwise and Eric The Viking.

In 1988 he wrote and starred in A Fish Called Wanda opposite Jamie Lee Curtis, Kevin Kline and Michael Palin, and was nominated for an Oscar for his script. But the long-awaited follow-up, Fierce Creatures, in 1996 was widely considered a disappointment.

In 1982, Cleese married Alyce Faye Eichelberger, his third blonde American wife, and they remain together to this day, spending most of their time on his Californian ranch.

In the Eighties, he also made party political broadcasts for the Liberal Democrats and the SDP-Liberal Alliance

In 1996, Cleese was offered the CBE, but turned it down.

Cleese’s notable guest appearances include The Muppet Show in 1978; playing Petrucio in a 1980 TV version of The Taming Of The Shrew; playing Q’s assistant in the 1999 James Bond movie The World Is Not Enough and Q himself in Die Another Day three years later.

He has also, lucratively, appeared on some of the most successful US sitcoms in recent years, with a one-off rols in Cheers; and recurring characters in Third Rock Form The Sun (playing Liam Neesam) and Will & Grace, (Lyle Finster).

He is known to a younger generation as Nearly Headless Nick in the Harry Potter films, or possibly as the voice of Princess Fiona's father, King Harold, in Shrek. And he is set to plays Chief Inspector Dreyfus in the 2009 revival of Pink Pather.

Cleese has also leant his voice to George Of The Jungle, Valiant and Charlotte’s Web, the video game Jade Empire, TomTom satellite navigation systems, and Eric Idle’s West End and Broadway Python musical Spamalot, in which he was the voice of God.

In 2005 Cleese toured New Zealand with a live show, but hopes this would spawn more performances around the world appear to have amounted to little, although he did take part in the 2006 Just For Laughs festival in Montreal.

He has both a species of lemur, Avahi cleesi, and an asteroid, 9618 Johncleese, named in his honour.

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How David Frost almost scuppered Monty Python

Star didn't want to release John Cleese from his contract

David Frost almost scuppered Monty Python’s Flying Circus by refusing to release John Cleese from his contract, a memo fromn the BBC archives reveals.

Cleese came to fame in the mid-1960s on The Frost Report, alongside Ronnie Barker and Ronnie Corbett, and went on to make At Last The 1948 Show with his Cambridge pal Graham Chapman for Frost’s production company, Paradine.

But when the pair joined forces with Michael Palin, Terry Jones, Eric Idle and Terry Gilliam for the new TV project that would become Monty Python’s Flying Circus, Frost wanted a slice of the action.

A memo from comedian Barry Took, who was at the time a consultant for the BBC, revealed the tensions.

Writing to entertainment executives, he says: ‘John Cleese phoned me today (20.4.69) to say that he is still under contract to Paradine Productions who want to be involved in "The Circus" project in a co production. 

‘Should the BBC be uninterested in the idea of co- production with Paradine, John Cleese must withdraw from the project as a performer, although he says he will be able to contribute to the scripts. 

‘This being so, I suggest that we scrap the idea of The Circus and proceed with my original concept a show starring Michael Palin, Terry Jones and Eric Idle, with cartoon inserts by Terry Gilliam. 

‘A "Comedy Playhouse" on BBC2 made in June, should if successful be followed by a six or seven episode series starting in week 34. This series could be placed on BBC1 or BBC 2, whichever channel needs servicing. 

‘When John Cleese is freed from his Paradine committment [sic] we can then re-examine the concept of The Circus, say in 1971.’

David FrostThe archives do not reveal what happened next, but the BBC were apparently successful in seeing off 30-year-old Frost,  right, who was already a powerful broadcasting impresario as well as a star. Episode one of Monty Python’s Flying Circus was recorded on September  7, 1969, and premiered on October 5 on BBC One.

Took’s memo has just been released by the broadcaster as part of a cache of archive material celebrating the career of David Attenborough, who was the BBC’s director of programmes at the time, having previously been head of BBC Two.

Documents also show that the Pythons were slow to settle on a name for their project.

In July 1969 – just two months before filming – head of comedy Michael Mills wrote to producer Ian MacNaughton urging him: ‘The time has come when we must stop having peculiar titles and settle for one overall title for the series. Please would you have a word with them and try to produce something palatable.’

Other documents show how viewers’ reaction was divided over the surreal new comedy programme.

Audience research say that  a quarter of viewers ‘responded in an unfavourable, if not, indeed, hostile fashion. It was, they often thought, a "load of rubbish, a stupid and, frequently, quite meaningless programme that, far from being funny, was one long bore"… the humour was infantile, it was said and the show failed to raise even a smile. "I honestly can't remember when I have watched so much tripe".

Yet about  half the ‘small’ sample had  thoroughly enjoyed the programme. The memo notes: ‘It was, several claimed, quite one of the most amusing and entertaining shows they had seen inspired "Goon-like" humour that exploited the medium of television to the full, with sketches, cartoon sequences, animated pictures, etc, and, over all, a delicious sense of the ridiculous "it is outrageous and I enjoy every minute of it".

The papers add: ‘According to some, the programme was funny in places but rather too silly in others: the ideas were good but "something went wrong in the visual telling of them".’

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Published: 11 Dec 2024

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