The Mighty Boosh

I can't praise Messrs Barret and Fielding enough for producing one of the finest comedies of the decade so far. It seems to have gone largely ignored by the masses, but I'm sure it won't be long before the rest of the nation catch-up and they'll all pretend they watched from the start! Like all excellent work you are constantly asking yourself "How did they come up with that?!" This for me is the beauty of this programme, it's completely original, imaginative and sometimes it seems completely spontaneous. It may take you one or two episodes before you are hooked but once you are you'll find yourself searching on your Sky remote through BBC2 and BBC3's listings trying to find out if it is on. If its on at 2 or 3 in the morning, so what, stay up, watch it, go into work tired the next morning it's well worth it. If your the kind of person who gets angry if you don't get enough sleep, then simply go into work wearing a poncho! It's impossible not to be happy in a poncho, but of course, you all know that! Boosh Forever!!!!!!!

The Mighty Boosh has always been one of my favourite programmes, sitcoms and beyond. It is nothing like the traditional sitcom - it is far more surreal and outlandish (in a positive sense), with plenty of strange characters that are a lot of fun.

The plots for each episode are almost highly unbelievable and silly, but that just adds to how lovable the series is. There are only 20 episodes at the current time, with no signs of another series being produced anytime soon, but each episode differs completely in terms of the plot with new characters introduced in pretty much every episode - be it a green-skinned hitchhiker with a Polo sweet for an eyepatch, a half-fish deep sea transsexual, or the legendary Yeti on heat, you never really know what to expect in any episode.

If you have a strict sense of humour, requiring the jokes and comical situations to be direct, rather than subtle, the chances are you will not like Boosh. There is no laughter track and the jokes/gags are generally deadpan, or at least low key. This is why the series often puts off American audiences. What they may not realise is that one character (as well as a variety of minor characters portrayed by the same actor), Bob Fossil, usually defies this sense of humour. Fossil, incidentally, is portrayed by an American (Rich Fulcher). He tends to be very direct with his humour, rather than the subtleness as depicted, by the main characters, Howard and Vince, as well as recurring supporting character Naboo the Enigma.

This is definitely a TV show you must not judge based on one viewing. It may take a few episodes to get used to the humour. And in all seriousness, you will often start with the first episode, 'Killeroo', which is the weakest episode of the whole 20 in my opinion. There is no explaining this to my beloved girlfriend who hated the show when I showed her the first episode. On reflection from this, I'd suggest starting with an episode like the 'Nanageddon' episode, one of the best of the bunch. This episode features an army of Satanic old ladies killing people across London using weapons such as OAP free bus passes and knitting material. No, seriously.

It's not to everyone's tastes, but I advise giving it a try. For me, it's a perfect 10. I imagine this show is like Marmite - love or hate. I don't know anyone who thinks the show is "all right", "okay", or "pretty good". It's either "brilliant" or "a load of rubbish/trash/garbage. Give it a try.

"The Mighty Boosh" is one of those series that are only possible in the U.K.. Writers and producers have such a refreshing and daring humour there, it's a joy to ignore American sitcoms for a while and take a peek at British comedy shows. "The Mighty Boosh" is another very original and imaginative show that grew from a stage act to a radio show to a T.V. sitcom. Every episode is taking place in different locations including jungles, deserted islands, snow and sandy deserts and underwater worlds. Sounds far out? It is.

The only things linking up from one episode to the next are the main characters, clumsy, but lovable Howard Moon (Julian Barratt) and Uber-Mod Vince Noir (Noel Fielding). In the first series these two are working at a zoo where some rather curious colleagues of theirs hang out, too. The second series mainly takes place at night. Vince and Howard have moved in with their friend Naboo, an Indian shaman, and a talking ape. Sounds far out? It is.

Another element that's in every episode is the hilarious, quite catchy music. Barratt is responsible for these short little ear candies. As funny as these songs may be they reveal a real songwriting talent as Barratt covers a lot of different styles effortlessly. Usually I'm not a big fan of musical parts in TV shows, but it works here and the songs about "Nanageddon", "Mod Wolves" and the "Ape Of Death" make this program even more special. Sounds far out? It is.

The humour of "The Boosh" is not as in your face as in other sitcoms. The show is more amusing than it is flat out hilarious. That and the innocent, child-like creativity of "The Boosh" might not be for everyone and these are probably the reasons for the show being more of a cult phenomenon right now. Barratt and Fielding already have a loyal following, though, and I'm sure that it will grow over time. Very English, very far out. The Boosh rules!

Everyone's entitled to their opinion and comedy is a matter of personal taste. However, don't be misled by most of the negative comments about the Boosch. It is NOT just humour for adolescents. I'm nearing retirement age and I remember Hancock in the early sixties but I think this programme is excellent. I think American sitcoms are generally grossly overrated (I despair at the popularity of that awful smug tripe known as Friends) and have been concerned at the recent trend to try and imitate this style in British sitcoms. The Boosch has no truck with that approach. It is wonderfully uncompromising in following the British tradition of not writing to a ratings-chasing formula (which nearly all US sitcoms do) but says "if you like this - fine but we're not going to water it down just to try and make it more acceptable to a mass audience". Whether you like it will depend on your personal taste in humour but it is right up there with the Goons, Python, the Young Ones, Father Ted and the rest. Future series may not be up to the standard of the first two but so what? There are only two series of Fawlty Towers but that's not exactly branded it a failure. Incidentally, I'm not totally anti US sitcoms. The Simpsons was great at first (well beyond its sell-by date now though) and one of the greatest of all time was, of course, Bilko.

I first became aware of Julian Barrett and Noel Fielding when they did a regular slot on the Lee & Herring review show of the juste pour rire comedy festival. I remember thinking that they were quite funny and that their main strength was in making you feel like you were just watching them talking among themselves, rather than acting a rehearsed script.

When I first saw the mighty boosh I didn't really give it a chance. I was channel-surfing late at night and, in my usual cynicism at any new comedy that the BBC releases, switched over after twenty seconds. It wasn't until about a year ago when I visited a friend and we had been out getting intoxicated that I was persuaded to watch a full episode, post-pub style. In spite of my earlier cynicism I found myself laughing, and since then it has grown on me to the point that I've just ordered the 2 series boxset.

Comparisons to Reeves and Mortimer are inevitable and I don't blame people accusing the writers of stealing some content. Of course I remember in 1990 people saying the exact same thing about Reeves & Mortimer in reference to Morecambe & Wise. As one reviewer has already said, they are standing on the shoulders of giants.

What sets the mighty boosh apart is its form. Reeves & Mortimer have never been any good at sitcom. Barrett and Fielding take the same surrealist approach to comedy but apply it to the form of sitcom with a sort of laissez-faire ease which allows the story to feel as if it's just unfolding in front of you.

I think it's interesting that some reviewers have criticised the actors for being too concerned with their image. Personally I thought one of the central jokes (if not THE central joke) of the mighty boosh was that EVERYONE is concerned with their image, and you can either admit it, preen yourself, and revel in how fabulous you look (like Vince) or you can deny it in pursuit of an elusive higher truth which (according to the show) always gets away from you and leaves you in the soup (like Howard).

This is classic double-act stuff (the vain, shallow one and the insecure, pretentious one) and these are two actors who are at home with each other and pull it off well. The supporting cast do their job very well, and Barrett and Fielding's bizarre side characters provide good, if brief, displays of their range as comic actors.

The sets in the mighty boosh are unashamedly low-budget and as far as I can tell none of it was shot on location. This (along with the curtain-up style intro which the two main characters perform (in character)at the beginning of each episode) serves to give the whole thing a thick layer of romantic irony, which neatly bridges the gap between the surreal train ride of the plot and the often mundane, very naturalistic exchanges between Howard and Vince.

In summary, the more I get into this show the more I love it for what it is; a well-crafted sloppy jelly of mixed ideas, held together with sound-acting-glue and peppered with quotable one-liners. It grows on you like cheese, which is a kind of meat, a tasty yellow beef.

That's the end of the review, but is it really the end?