Tony Hancock: The Definitive Biography. John Fisher
line, the curate calls, albeit not played by Kenneth Williams, and social aspiration dictates the life of the chief resident. A more complex character is Kenneth Widmerpool from Anthony Powell’s A Dance to the Music of Time. Military man and politician in a way that Hancock could only pretend to be, he is revealed by turns through a twelve-volume cycle as villain and victim, manipulator and fool in a way that chiefly serves to remind us of Hancock through the sympathy Powell manages to engage on his behalf, from his very first appearance at school wearing ‘the wrong kind of overcoat’. At times pompous to the point of ridicule, he gets by like Hancock, blustering against fate, cushioned by speeches of windy verbosity. A more light-hearted literary character has an equal claim to be considered Tony’s alter ego. In formulating the Hancock character Galton and Simpson found themselves reversing the anthropomorphism of Kenneth Grahame’s enduring creation from Toad Hall. In a television interview, Bill Kerr catalogued the similarities: ‘The bluster, the pomp, the dignity, the frailty.’ But more than that he looked like Toad. Once in a while television companies raid the current stock of familiar comic faces to cast the classic afresh. It is a tragedy that nobody gave Hancock the chance. Bubbling over with his own self-importance, all airs and graces, he would have made it impossible for another actor to follow in his amphibious tracks. To hear Toad rhapsodising on the prospects of motor travel, one might well be travelling with Hancock, tooting along on the open road to the Monte Carlo rally in one of his early radio shows: ‘The poetry of motion! The real way to travel! The only way to travel! Here today – in next week tomorrow! … O poop-poop!’ They could have changed places. The thought of ‘Toad’s Half Hour’ and a dressing room with his name on the door would have puffed up the creature’s ego even more.
Of course, Hancock had the advantage over any fictional character in that on television he could look you in the eyes. As Duncan Wood, his principal television producer, said, ‘He looked like a beaten-up spaniel – even if the dog bites you, you still pat it on the head again.’ Alan Simpson risked stating the obvious on the matter: ‘He was a very sympathetic performer. Certain people on television – irrespective of how good they are – if they don’t like the look of you, you’re dead. The character of Hancock was such a terrible failure at everything he did, everybody felt sorry for him, even though he was very arrogant, very pompous.’ But there was another quality. For all he may have played a ‘mug’, and an often unpleasant one at that, there always bubbled beneath the surface of his BBC portrayal a level of charm, intelligence, not to mention enjoyment in the task at hand. Intuitively an audience picks up on such qualities and subconsciously enters a sharing game with the performer. It was partly in the words, but it was entirely in the playing. Dennis Main Wilson, who knew the man as well as anybody professionally, once said that ‘to be a great clown you have to have vulnerability and indeed humility and if you ain’t got them as a clown, you ain’t gonna be a star – no way!’ In its inner self the great British public sensed this in spades.
In time this book will address how much of the Hancock image was rooted in reality, how much the fictitious accretion for laughter’s sake alone. For the moment it is enough to know that Hancock himself had the full measure of what was going on. As was so often the case, it seemed to come back to the feet. He told a reporter on the Coventry Evening Telegraph, ‘You can’t get away from it – underneath the handmade crocodile shoes, there are still the toes.’ He saw the pretensions with which people clothed themselves as the key to his humour, his role being to puncture them. Six years later that was still his credo. In an interview in Planet magazine he explained, ‘What I portray is what I find pretentious in myself and others. I play up pretensions, pomposity and stupidity in order – I hope – to destroy them. Who first decides about the position of the little finger when you’re drinking a cup of tea? Or who first decided the correct way to hold your soup bowl? Let’s say we did a comic skit where two people had a great barney about the right way to hold a soup bowl, showing up the stupidity of the whole thing. After the show the audience might go somewhere for a meal and remember the skit when they started on the soup. The impression might not last very long, but it would be there.’ It is reassuring to know that he and presumably Alan and Ray were ahead of Denis Norden on that one. But he was always at pains to point out the one thing he was not. As he emphasised to Russell Clark on Australian television a few months before he died: ‘I wasn’t a little man fighting against bureaucracy. This is nonsense. I was always trying to make life a little less deadly than it really is, and a lot of it was extremely belligerent comedy.’ As Philip Oakes noted, ‘Hancock, far from being the classic figure of the clown (that is, he who gets slapped) was the first to slap back.’ But there was always the suggestion of uncertainty in the aggressiveness. It was inevitable in the case of a character that wanted the whole world and yet had no means of achieving it except on the cheap.
‘A double feature, half a bar of Palm toffee, and three and a half hours in the dark – that was my idea of fun.’
He always claimed that his earliest recollection was of an egg timer. Later in life he went on record as being able to boil ‘a very good three-and-a-half-minute egg without having to glance at my watch once’. Eggs, with the attendant ‘soldiers’ to dip into their soft-boiled interiors, would provide a comfort factor – and at one point a professional windfall – in a life that began as Anthony John Hancock at 41 Southam Road, Hall Green, Small Heath, Birmingham, on 12 May 1924. The more grandiose middle names met in the previous chapter were the stuff of comic fiction. The house with its bay windows and turreted chimneys was the sturdy type of semi-detached that helped to define the identity of the British lower middle class between the wars and beyond. The ‘lower’ may be misleading in that the Hancocks were able to afford a nanny and a cook, whom Tony remembered as ‘a painfully thin woman who, no matter how much food she consumed, never put on a single pound’. The Hancocks were the original residents of the dwelling purchased new for the sum of £400 shortly after the arrival of their first son, Colin, in March 1918. By the time of Tony’s birth his father, John Hancock, had progressed in status to branch manager for the Houlder Brothers steamship line, which he had joined as a messenger boy in 1900, although his heart beat faster when he applied himself to his avocation as a small-time entertainer with a welcome entrée into the round of clubs, smoking concerts and masonics that thrived throughout the city. It is appropriate that in heraldic circles the name of Hancock did originally mean ‘son of John’, ‘Han’ being a Flemish form of John, ‘cock’ an affectionate term sometimes used to mean ‘son of’.
Hancock was what might be called a deadline baby, in that his father left it forty-two days before registering the birth of his second son at Kings Norton register office, the maximum period allowed by law. When the child was three years old, the family, prompted by medical advice in the matter of his father’s bronchial troubles, relocated to the purer air and more temperate, more genteel climes of Bournemouth. In later times Hancock would recall the event with typical deadpan insouciance: ‘What a brave band we were, striking south that summer morning. Every hamlet, every village, every town we passed through accorded us a truly remarkable lack of attention, exceeded only by the complete anonymity of our arrival in Bournemouth itself.’ By all accounts his father was a thrifty soul, refusing to buy enough petrol to take them beyond Bath, where they had to refuel for the final leg of the momentous journey. He had an automatic refrain when questioned why he didn’t fill the tank up completely, the same words of morbid circumspection he used when his wife constantly queried his purchase of one Alcazar razor blade at a time, rather than a packet of six: ‘You never know.’ The move was made viable by the monetary support of Tony’s maternal grandfather, Harry Samuel Thomas, an enterprising printer and lithographer whose success provided him with the financial cushion to serve for twenty-one years as a director of Birmingham City Football Club. His photograph is contained in the handbook published to mark the opening of the St Andrew’s ground in 1906. It was said of him by Harry Morris, a chairman of the club in the 1960s, that ‘he was always a very good judge