Santa Ana winds are known for the hot, dry weather that they bring in autumn (often the hottest of the year), but they can also arise at other times of the year. They often bring the lowest relative humidities of the year to coastal Southern California, and "beautifully clear skies."
These low humidities, combined with the warm, compressionally-heated
air mass, plus high wind speeds, create critical fire weather conditions
and fan destructive wildfires.
The Santa Anas are katabatic winds (Greek for "flowing downhill") arising in higher altitudes and blowing down towards sea level. The National Weather Service
defines Santa Ana winds as "a weather condition [in southern
California] in which strong, hot, dust-bearing winds descend to the
Pacific Coast around Los Angeles from inland desert regions".
This map illustration shows a characteristic high-pressure area centered over the Great Basin, with the clockwise anticyclone
wind flow out of the high-pressure center giving rise to a Santa Ana
wind event as the airmass flows through the passes and canyons of
Southern California, manifesting as a dry northeasterly wind.
Santa Ana winds originate from high-pressure airmasses over the Great Basin and upper Mojave Desert. Any low-pressure area over the Pacific Ocean, off the coast of California, can change the stability of the Great Basin High, causing a pressure gradient that turns the synoptic scale winds southward down the eastern side of the Sierra Nevada and into the Southern California region.
According to one meteorology journal, "a popular rule of thumb used by
forecasters is to measure the difference in pressure between the Los Angeles International Airport and Las Vegas; a difference of 9 millibars (0.27 inches of mercury) is enough to support a Santa Ana event."
Warm, dry air flows outward in a clockwise spiral from the high
pressure center. This dry airmass sweeps across the deserts of eastern
California toward the coast, and encounters the towering Transverse Ranges, which separate coastal Southern California from the deserts.
The airmass, flowing from high pressure in the Great Basin to a low
pressure center off the coast, takes the path of least resistance by
channeling through the mountain passes to the lower coastal elevations,
as the low pressure area off the coast pulls the airmass offshore.
Mountain passes which channel these winds include the Soledad Pass, the Cajon Pass, and the San Gorgonio Pass, all well known for exaggerating Santa Anas as they are funneled through. As the wind narrows and is compressed into the passes its velocity increases dramatically, often to near-gale force
or above. At the same time, as the air descends from higher elevation
to lower, the temperature and barometric pressure increase adiabatically, warming about 5 °F for each 1,000 feet it descends (1 °C for each 100 m). Relative humidity decreases with the increasing temperature. The air has already been dried by orographic lift
before reaching the Great Basin, as well as by subsidence from the
upper atmosphere, so this additional warming often causes relative
humidity to fall below 10 percent.
The end result is a strong, warm, and very dry wind blowing out
of the bottom of mountain passes into the valleys and coastal plain.
These warm, dry winds, which can easily exceed 40 miles per hour
(64 km/h), can severely exacerbate brush or forest fires, especially under drought conditions.
During Santa Ana conditions it is typically hotter along the coast than in the deserts,
with the Southern California coastal region reaching some of its
highest annual temperatures in autumn rather than summer. Frigid, dry
arctic air from Canada tends to create the most intense Santa Ana winds.
QuikSCAT image showing the speed of the Santa Ana winds (m/s)
While the Santa Anas are katabatic, they are not Föhn winds.
These result from precipitation on the windward side of a mountain
range which releases latent heat into the atmosphere which is then
warmer on the leeward side (e.g., the Chinook or the original Föhn).
If the Santa Anas are strong, the usual day-time sea breeze
may not arise, or develop weak later in the day because the strong
offshore desert winds oppose the on-shore sea breeze. At night, the
Santa Ana Winds merge with the land breeze blowing from land to sea and strengthen because the inland desert cools more than the ocean due to differences in the heat capacity and because there is no competing sea breeze.
Santa Ana winds are associated in the public mind with dry hot
weather, but cold Santa Anas not only exist but have a strong
correlation with the highest "regionally averaged" wind speeds.
Regional impacts
The Thomas Fire and two other fires burn out of control near Ventura in December 2017, with a strong Santa Ana wind driving the flames toward the coast and blowing the smoke offshore.
Santa Ana winds often bring the lowest relative humidities of the year to coastal Southern California. These low humidities, combined with the warm, compressionally-heated air mass,
plus the high wind speeds, create critical fire weather conditions. The
combination of wind, heat, and dryness accompanying the Santa Ana winds
turns the chaparral into explosive fuel feeding the infamous wildfires for which the region is known.
Although the winds often have a destructive nature, they have
some benefits as well. They cause cold water to rise from below the
surface layer of the ocean, bringing with it many nutrients that
ultimately benefit local fisheries. As the winds blow over the ocean, sea surface temperatures drop about 4°C (7°F), indicating the upwelling. Chlorophyll
concentrations in the surface water go from negligible, in the absence
of winds, to very active at more than 1.5 milligrams per cubic meter in
the presence of the winds.
Local maritime impacts
During
the Santa Ana winds, large ocean waves can develop. These waves come
from a northeasterly direction toward the normally sheltered sides of
the Channel Islands, including commonly visited Catalina and Santa Cruz islands. Normally well-sheltered harbors and anchorages such as Avalon and Two Harbors
can develop high surf and strong winds that can tear boats from their
moorings. During Santa Ana conditions, it is advised that boaters moor
on the Southern side of affected islands or return to the mainland.
Related phenomena
Santa Ana fog
A Santa Ana fog is a derivative phenomenon in which a ground fog settles in coastal Southern California
at the end of a Santa Ana wind episode. When Santa Ana conditions
prevail, with winds in the lower two to three kilometers (1.25-1.8
miles) of the atmosphere from the north through east, the air over the
coastal basin is extremely dry, and this dry air extends out over
offshore waters of the Pacific Ocean. When the Santa Ana winds cease,
the cool and moist marine layer
may re-form rapidly over the ocean if conditions are right. The air in
the marine layer becomes very moist and very low clouds or fog occurs.
If wind gradients turn on-shore with enough strength, this sea fog is
blown onto the coastal areas. This marks a sudden and surprising
transition from the hot, dry Santa Ana conditions to cool, moist, and
gray marine weather, as the Santa Ana fog can blow onshore and envelop
cities in as quickly as fifteen minutes. However, a true Santa Ana fog
is rare, because it requires conditions conducive to rapid re-forming of
the marine layer, plus a rapid and strong reversal in wind gradients
from off-shore to on-shore winds. More often, the high pressure system
over the Great Basin, which caused the Santa Ana conditions in the first
place, is slow to weaken or move east across the United States. In this
more usual case, the Santa Ana winds cease, but warm, dry conditions
under a stationary air mass continue for days or even weeks after the
Santa Ana wind event ends.
A related phenomenon occurs when the Santa Ana condition is
present but weak, allowing hot dry air to accumulate in the inland
valleys that may not push all the way to sea level. Under these
conditions auto commuters can drive from the San Fernando Valley where
conditions are sunny and warm, over the low Santa Monica Mountains, to
plunge into the cool cloudy air, low clouds, and fog characteristic of
the marine air mass. This and the "Santa Ana fog" above constitute
examples of an air inversion.
The similar winds in the Santa Barbara and Goleta
area occur most frequently in the late spring to early summer, and are
strongest at sunset, or "sundown"; hence their name: sundowner. Because
high pressure areas usually migrate east, changing the pressure gradient
in Southern California to the northeast, it is common for "sundowner"
wind events to precede Santa Ana events by a day or two.
Historical impact
The
Santa Ana winds and the accompanying raging wildfires have been a part
of the ecosystem of the Los Angeles Basin for over 5,000 years, dating
back to the earliest habitation of the region by the Tongva and Tataviam peoples.
The Santa Ana winds have been recognized and reported in
English-language records as a weather phenomenon in Southern California
since at least the mid-nineteenth century. During the Mexican–American War, Commodore Robert Stockton
reported that a "strange, dust-laden windstorm" arrived in the night
while his troops were marching south through California in January 1847.
Various episodes of hot, dry winds have been described over this
history as dust storms, hurricane-force winds, and violent
north-easters, damaging houses and destroying fruit orchards. Newspaper
archives have many photographs of regional damage dating back to the
beginnings of news reporting in Los Angeles. When the Los Angeles Basin
was primarily an agricultural region, the winds were feared particularly
by farmers for their potential to destroy crops.
In early December 2011, the Santa Ana winds were the strongest
yet recorded. An atmospheric set-up occurred that allowed the towns of Pasadena and Altadena in the San Gabriel Valley to get whipped by sustained winds at 97 mph (156 km/h), and gusts up to 167 mph (269 km/h).
The winds toppled thousands of trees, knocking out power for over a
week. Schools were closed, and a "state of emergency" was declared. The
winds grounded planes at LAX, destroyed homes, and were even strong
enough to snap a concrete stop light from its foundation.
The winds also ripped through Mammoth Mountain and parts of Utah.
Mammoth Mountain experienced a near-record wind gust of 175 mph
(282 km/h), on December 1, 2011.
In December 2017, a cluster of twenty-five Southern California wildfires were exacerbated by long-lasting and strong Santa Ana winds.
In September 2020, a group of wildfires in southern California were exacerbated by a mild Santa Ana event, including the Valley Fire, El Dorado Fire, and Bobcat Fire.
Health effects
The winds carry Coccidioides immitis and Coccidioides posadasii spores into nonendemic areas, a pathogenic fungus that causes Coccidioidomycosis
("Valley Fever"). Symptomatic infection (40 percent of cases) usually
presents as an influenza-like illness with fever, cough, headaches,
rash, and myalgia (muscle pain).
Serious complications include severe pneumonia, lung nodules, and
disseminated disease, where the fungus spreads throughout the body. The
disseminated form of Coccidioidomycosis can devastate the body, causing
skin ulcers, abscesses, bone lesions, severe joint pain, heart
inflammation, urinary tract problems, meningitis, and often death.
Name etymology
The best-accepted explanation for the name Santa Ana winds is that it is derived from the Santa Ana Canyon in Orange County, one of the many locations where the winds blow intensely.Newspaper references to the name Santa Ana winds appear as far back as 1882. Per the Riverside Press-Enterprise in 2020:
According to research done by Orange County historian Chris Jepsen, the first reported reference to that term comes to us in 1871 from the Anaheim Gazette.
To anyone in what would become Orange County at the time, the winds
seem to come out of Santa Ana Canyon, hence the name. However, having
Santa Ana winds named for their city did not please the members of the
Chamber of Commerce in the city of Santa Ana, and they fought for years to get the name changed.
The name Santa Ana wind became nationally known following a sensationalized 1901 wire story about wind damage.
One narrative claimed that the term Santa Ana wind derives from a Native American phrase for "devil wind" that was then altered by Californios into the form "Satanás" (meaning Satan),
and then still later corrupted into "Santa Ana". However, an authority
on local Native American languages claims this supposed Indigenous term
"Santana" never existed. No evidence has ever emerged to support this explanation and it is likely a false etymology.
In 1933, Father John O'Connell of Mission San Juan Capistrano reported that Don Jesus Aguilar, born 1855 at Capistrano, said that in his day the winds had been called el viento del norte.
In popular culture
Santa Ana winds are widely believed to affect people's moods and behavior. The Santa Ana winds are commonly portrayed in fiction as being responsible for a tense, uneasy, wrathful mood among Angelenos. As The New York Times
put it in 2003, "a dry, hot Santa Ana often symbolizes an unnamable
menace lying just beneath the sun-shot surface of California life." According to the Pasadena Public Library [Wikidata] book blog, the winds notably appear in Richard Henry Dana's Two Years Before the Mast, the Philip Marlowe story "Red Wind" by Raymond Chandler, Joan Didion's essays about Los Angeles, twice ("Los Angeles Notebook", and "Some Dreamers of the Golden Dream"), The Husband by Dean Koontz, White Oleander by Janet Fitch, and Less than Zero by Bret Easton Ellis. In Thomas Pynchon's 2009 "California novel" Inherent Vice the winds make an appearance and, per one scholar, "the obligatory noir description of their effects appears on page 98."
Los Angeles Times
columnist David L. Ulin commented, "...for writers such as Didion and
Chandler, the Santa Ana is an emblem of disruption because, for them,
Los Angeles is a disrupted world. We can take issue with that impression
of the city; I sometimes do and sometimes don't. But when the Santa Ana
starts to blow, I invariably grow edgy...unable, in the most concrete
sense, to settle myself down."
There was a desert wind blowing
that night. It was one of those hot dry Santa Anas that come down
through the mountain passes and curl your hair and make your nerves jump
and your skin itch. On nights like that every booze party ends in a
fight. Meek little wives feel the edge of the carving knife and study
their husbands' necks. Anything can happen. You can even get a full
glass of beer at a cocktail lounge.
The baby frets. The maid sulks. I
rekindle a waning argument with the telephone company, then cut my
losses and lie down, given over to whatever is in the air. To live with
the Santa Ana is to accept, consciously or unconsciously, a deeply
mechanistic view of human behavior.
...
[T]he violence and the unpredictability of the Santa Ana affect the
entire quality of life in Los Angeles, accentuate its impermanence, its
unreliability. The wind shows us how close to the edge we are.
When the hills of Los Angeles are burning
Palm trees are candles in the murder winds
So many lives are on the breeze/ Even the stars are ill at ease
And Los Angeles is burning.
Some of this experienced vibe shift is likely due to the very real increase of static electricity in dry conditions. California folklore
therefore credits the winds with "strange luminosity in the form of
sparks and glows that accompany the winds" and an excess of "positive ions, disrupting health, well-being, and temperament."
In Season 1 episode 5 of the drama Brothers and Sisters,
having just moved back to LA, Kitty is forced to deal with her
childhood fear of the Santa Ana winds as she navigates decisions in her
romantic life.
The Santa Ana winds are personified in The CW musical series Crazy Ex-Girlfriend
as a prankster narrator responsible for main characters and enemies
Rebecca and Nathaniel kissing for the first time. A song titled "Santa
Ana Winds" is sung in a doo-wop style, which educates the viewer on the winds itself. The winds are portrayed by Eric Michael Roy.
In Season 3 Episode 16 of The Rookie, The Santa Ana winds can be
seen throughout the episode and are referenced by one of the main
characters.
The lush green of the Sahelian acacia savanna during the rainy summer season in Mali. Note the large baobab amongst the acacia.Herders with livestock and azawakh dogs in the Sahel
The Sahel spans 5,900 km (3,670 mi) from the Atlantic Ocean in the west to the Red Sea
in the east, in a belt several hundred to a thousand kilometers (c. 600
miles) wide. It covers an area of 3,053,200 square kilometers
(1,178,850 sq mi).
The topography of the Sahel is mainly flat; most of the region
lies between 200 and 400 meters (660 and 1,310 ft) in elevation. Several
isolated plateaus and mountain ranges rise from the Sahel (e.g. Marrah Mountains, Aïr Mountains, Ennedi Plateau), but are designated as separate ecoregions because their flora and fauna are distinct from the surrounding lowlands (e.g. East Saharan woodlands).
Annual rainfall varies from around 100–200 mm (4–8 in) in the north of
the Sahel to around 700–1,000 mm (28–39 in) in the south.
Ennedi Plateau is located at the border of the Sahara and the Sahel10 year average precipitation during the summer rainy season (May - September) in the Sahel and adjecent regions
The Sahel has a tropicalsemi-arid climate (Köppen climate classificationBSh).
The climate is typically hot, sunny, dry and somewhat windy all year
long. The Sahel's climate is similar to, but less extreme than, the
climate of the Sahara desert located just to the north.
The Sahel mainly receives a low to very low amount of
precipitation annually. The steppe has a very long, prevailing dry
season and a short rainy season. The precipitation is also extremely
irregular, and varies considerably from season to season. Most of the
rain usually falls during four to six months in the middle of the year,
while the other months may remain absolutely dry. The interior of the
Sahel region generally receives between 200 mm and 700 mm of rain
yearly. A system of subdivisions often adopted for the Sahelian climate
based on annual rainfall is as follows: the Saharan-Sahelian climate,
with mean annual precipitation between around 100 and 200 mm (such as Khartoum, Sudan), the strict Sahelian climate, with mean annual precipitation between around 200 and 700 mm (such as Niamey, Niger) and the Sahelian-Sudanese climate, with mean annual precipitation between around 700 and 900 mm (such as Bamako, Mali). The relative humidity
in the steppe is low to very low, often between 10% and 25% during the
dry season and between 25% and 75% during the rainy season. The least
humid places have a relative humidity under 35%.
The Sahel is characterized by constant, intense heat, with an
unvarying temperature. The Sahel rarely experiences cold temperatures.
During the hottest period, the average high temperatures are generally
between 36 and 42 °C (97 and 108 °F) (and even more in the hottest
regions), often for more than three months, while the average low
temperatures are around 25 to 31 °C (77 to 88 °F). During the "coldest
period", the average high temperatures are between 27 and 33 °C (81 and
91 °F) and the average low temperatures are between 15 and 21 °C (59 and
70 °F). Everywhere in the Sahel, the average mean temperature is over 18 °C (64 °F).
The Sahel has a high to very high sunshine duration
year-round, between 2,400 hours (about 55% of the daylight hours) and
3,600 hours (more than 80% of the daylight hours). The sunshine duration
in the Sahel approaches desert levels, and is comparable to that in the
Arabian Desert, for example, even though the Sahel is only a steppe and not a desert. The cloud cover is low to very low. For example, Niamey, Niger has 3,082 hours of bright sunshine; Gao, Mali has near 3,385 hours of sunshine; Timbuktu, Mali has 3,409 sunny hours, and N'Djamena, Chad has 3,205 hours of sunlight.
Traditionally, most of the people in the Sahel have been semi-nomads, farming and raising livestock in a system of transhumance.
The difference between the dry North with higher levels of soil
nutrients and the wetter South with more vegetation, is utilized by
having the herds graze on high-quality feed in the North during the wet
season, and trek several hundred kilometers to the South to graze on
more abundant, but less nutritious feed during the dry period.
The term "Sahel" is borrowed from the Arabic name for the region, الساحلal-sāḥil. Sāḥil literally means "coast, shore", which has been explained as a figurative reference to the southern edge of the vast Sahara. However, such use is unattested in Classical Arabic, and it has been suggested that the word may originally have been derived from the Arabic word سهلsahl "plain" instead.
History
Early agriculture
Around
4000 BC, the climate of the Sahara and the Sahel started to become
drier at an exceedingly fast pace. This climate change caused lakes and
rivers to shrink significantly and caused increasing desertification.
This, in turn, decreased the amount of land conducive to settlements
and caused migrations of farming communities to the more humid climate
of West Africa.
The Sahelian kingdoms were a series of monarchies centered in the
Sahel between the 9th and 18th centuries. The wealth of the states, like
the legendary Mali Empire at the time of Mansa Musa, came from controlling the trans-Saharan trade routes across the desert, especially with the Maghreb. Their power came from having large pack animals
like camels and horses that were fast enough to keep a large empire
under central control and were also useful in battle. All of these
empires were quite decentralized with member cities having a great deal
of autonomy. The larger Sahelian kingdoms emerged from 750 AD and erected several large cities in the Niger valley region, including Timbuktu, Gao and Djenné.
Due to the wooded areas to their south, the Sahelian states were hindered from expanding into the north Akan state of the Bonoman and Yoruba peoples,
as mounted warriors were all but useless in the forests and the horses
and camels were susceptible to the humidity and diseases of the tropics.
For hundreds of years, the Sahel region has experienced frequent droughts and megadroughts. One megadrought lasted from 1450 to 1700, 250 years.
There was a major drought in the Sahel in 1914 caused by annual rains
far below average, leading to large-scale famine. From 1951 to 2004, the
Sahel experienced some of the most consistent and severe droughts in
Africa.
The 1960s saw a large increase in rainfall in the region, making the
northern drier region more accessible. There was a push, supported by
governments, for people to move northwards. When the long drought period
from 1968 through 1974 began, grazing quickly became unsustainable and
large-scale denuding of the terrain followed. Like the drought in 1914,
this led to a large-scale famine, but this time somewhat tempered by
international visibility and an outpouring of aid. This catastrophe led
to the founding of the International Fund for Agricultural Development.
Between June and August 2010, famine struck the Sahel. Niger's crops failed to mature in the heat, 350,000 faced starvation, and 1,200,000 were at risk of famine. In Chad the temperature reached 47.6 °C (117.7 °F) on 22 June in Faya-Largeau,
breaking a record set in 1961 at the same location. Niger tied its
highest temperature record set in 1998, also on 22 June, at 47.1 °C in Bilma.
That record was broken the next day, when Bilma hit 48.2 °C (118.8 °F).
The hottest temperature recorded in Sudan was reached on 25 June, at
49.6 °C (121.3 °F) in Dongola, breaking a record set in 1987. Niger reported on 14 July that diarrhoea, starvation, gastroenteritis, malnutrition and respiratory diseases had sickened or killed many children. The new military junta appealed for international food aid and took serious steps to call on overseas help. On 26 July, the heat reached near-record levels over Chad and Niger, and in northern Niger about 20 people reportedly died of dehydration by 27 July.
The Sahel region faces environmental issues that are contributing to global warming. If the change in climate in the Sahel region "is not slowed-down and desertification possibly reversed through sustainable practices and any form of reforestation,
it is only a matter of time before" countries like Niger lose their
entire landmass to desert due to unchecked unsustainable human
practises. Over-farming, over-grazing, over-population of marginal lands, and natural soil erosion, have caused serious desertification of the region.
This has affected shelter construction, making it necessary to change
the used materials. The Woodless Construction project was introduced in
Sahel in 1980 by the Development Workshop, achieving since then a high
social impact in the region. A major initiative to combat desertification in the Sahel region via reforestation and other interventions is the Great Green Wall.
Major dust storms are a frequent occurrence as well. During November 2004, a number of major dust storms hit Chad, originating in the Bodélé Depression. This is a common area for dust storms, occurring on average on 100 days every year.
In the wake of the Libyan Crisis, terrorist organizations operating in the Sahel, including Boko Haram, Islamic State and al-Qaeda in the Islamic Maghreb (AQIM), have greatly exacerbated the violence, extremism and instability of the region. In March 2020, the United States sent a special envoy for the Sahel region to combat the rising violence from terrorist groups.
Envoy Peter Pham started his new role on 1 March 2020. He has been the U.S. Special Envoy for the Great Lakes Region of Africa since November 2018.
On 9 July 2020, the United States raised concerns over growing number of allegations of human rights violations and abuses by state security forces in Sahel. The US response came after Human Rights Watch released documents regarding the same on 1 July. Reports in March 2022 show militants are expanding and spreading out south of the Sahel.
The series stands out for its use of absurd situations, mixed with risqué and innuendo-laden humour, sight gags and observational sketches without punchlines. Live action segments were broken up with animations by Gilliam, often merging with the live action to form segues. The overall format used for the series followed and elaborated upon the style used by Spike Milligan in his groundbreaking series Q...,
rather than the traditional sketch show format. The Pythons play the
majority of the series' characters themselves, along with supporting
cast members including Carol Cleveland (referred to by the team as the unofficial "Seventh Python"), Connie Booth (Cleese's first wife), series producer Ian MacNaughton, Ian Davidson, musician Neil Innes, and Fred Tomlinson and the Fred Tomlinson Singers for musical numbers.
The programme came about as the six Pythons, having met each
other through university and in various radio and television programmes
in the 1960s, sought to make a new sketch comedy show unlike anything
else on British television at the time. Much of the humour in the
series' various episodes and sketches targets the idiosyncrasies of British life, especially that of professionals, as well as aspects of politics. Their comedy is often pointedly intellectual,
with numerous erudite references to philosophers and literary figures
and their works. The team intended their humour to be impossible to
categorise, and succeeded so completely that the adjective "Pythonesque"
was invented to define it and, later, similar material. However, their
humour was not always seen as appropriate for television by the BBC,
leading to some censorship during the third series. Cleese left the show
following that series, and the remaining Pythons completed a final,
shortened fourth series before ending the show.
The show became very popular in the United Kingdom, and after
initially failing to draw an audience in the United States, gained
American popularity after PBS
member stations began airing it in 1974. The programme's success on
both sides of the Atlantic led to the Pythons going on live tours and
creating three additional films, while the individual Pythons flourished
in solo careers. Monty Python's Flying Circus has become an influential work on comedy as well as in popular culture. The programming language Python was named by Guido van Rossum after the show and the word spam, for junk email, took its name from a word used in a Monty Python sketch.
Premise
Monty Python's Flying Circus is a sketch comedy show, though it does not adhere to any regular format. The sketches include live-action skits performed by Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam,
along with animations created by Gilliam, frequently used as linking
devices or interstitial between skits. During the first three series,
Cleese would be dressed in a tuxedo and introduce the show with the
phrase "And Now for Something Completely Different." Afterwards, a
long-haired man (called the It's man) played by Michael Palin would run
all the way to the camera and say "It's.." which would start the show
proper. The show's introductory theme, which varied with each series,
was also based on Gilliam's animations and was accompanied by a
rendition of "The Liberty Bell" march by John Philip Sousa, as performed by the Band of the Grenadier Guards. The march was first published in 1893; Gilliam chose it as the show's theme because it had fallen into the public domain under the terms of the Berne Convention and United States copyright law, and could thus be used without royalty payments.
Title
The title Monty Python's Flying Circus was partly the result of the group's reputation at the BBC. Michael Mills,
the BBC's Head of Comedy, wanted their name to include the word
"circus" because the BBC referred to the six members wandering around
the building as a circus, in particular, "Baron Von Took's Circus",
after Barry Took, who had brought them to the BBC. The group added "flying" to make it sound less like an actual circus and more like something from World War I. The group was coming up with their name at a time when the 1966 The Royal Guardsmen song Snoopy vs. the Red Baron had been at a peak. Freiherr Manfred von Richthofen, the World War I German flying ace known as The Red Baron, commanded the Jagdgeschwader 1 squadron of planes known as "The Flying Circus".
The words "Monty Python" were added because they claimed it
sounded like a really bad theatrical agent, the sort of person who would
have brought them together, with John Cleese suggesting "Python" as something slimy and slithery, and Eric Idle suggesting "Monty". They later explained that the name Monty "made us laugh because Monty to us means Lord Montgomery, our great general of the Second World War".
The BBC had rejected some other names put forward by the group, including Whither Canada?, The Nose Show, Ow! It's Colin Plint!, A Horse, a Spoon and a Basin, The Toad Elevating Moment and Owl Stretching Time. Several of these titles were later used for individual episodes.
Compared with many other sketch comedy shows, Flying Circus
had fewer recurring characters, many of whom were involved only in
titles and linking sequences. Continuity for many of these recurring
characters was frequently non-existent from sketch to sketch, with
sometimes even the most basic information (such as a character's name)
being changed from one appearance to the next.
The most frequently returning characters on the show include:
The "It's" Man (Palin), a Robinson Crusoe-type
castaway with torn clothes and a long, unkempt beard who would appear
at the beginning of the programme. Often he is seen performing a long or
dangerous task, such as falling off a tall, jagged cliff or running
through a mine field a long distance towards the camera before
introducing the show by just saying, "It's..." before being abruptly cut
off by the opening titles and Terry Gilliam's animation sprouting the
words 'Monty Python’s Flying Circus'. It's was an early candidate for the title of the series.
A BBC continuity announcer in a dinner jacket (Cleese), seated at a desk, often in highly incongruous locations, such as a forest or a beach. His line, "And now for something completely different",
was used variously as a lead-in to the opening titles and a simple way
to link sketches. Though Cleese is best known for it, Idle first
introduced the phrase in Episode 2, where he introduced a man with three
buttocks. It eventually became the show's catchphrase
and served as the title for the troupe's first movie. In Series 3 the
line was shortened to simply: "And now..." and was often combined with
the "It's" man in introducing the episodes.
Gumbys on parade
The Gumbys, a dim-witted group of identically attired people all wearing gumboots (from which they take their name), high-water trousers, braces, Fair Isletank tops, white shirts with rolled up sleeves, round wire-rimmed glasses, toothbrush moustaches and knotted handkerchiefs worn on their heads (a stereotype of the English working-class
holidaymaker). Gumbys always stand in a hunched, square posture,
holding their arms stiffly at their sides with their balled hands curled
inwards. They speak slowly in loud, throaty voices punctuated by
frequent grunts and groans, display a poor understanding of everything
they encounter, and have a fondness for pointless violence. All of them
are surnamed Gumby: D.P. Gumby, R.S. Gumby, etc. Even though all Pythons
played Gumbys in the show's run, the character is most closely
associated with Michael Palin.
The Knight with a Raw Chicken (Gilliam), who would hit
characters over the head with the chicken when they said something
particularly silly. The knight was a regular during the first series and
made another appearance in the third.
A nude organist
(played in his first two appearances by Gilliam, later by Jones) who
provided a brief fanfare to punctuate certain sketches, most notably on a
sketch poking fun at Sale of the Century or as yet another way to introduce the opening titles. This character was addressed as "Onan" by Palin's host character in the ersatz game show sketch "Blackmail". He wore only a tie and a white shirt collar.
The "Pepper Pots" are screeching middle-aged, lower-middle class
housewives, played by the Pythons in frocks and frumpy hats, and engage
in surreal and inconsequential conversation. "The Pepper Pots" was the
in-house name that the Pythons used to identify these characters, who
were never identified as such on-screen. On the rare occasion these
women were named, it was often for comic effect, featuring such names as
Mrs. Scum, Mrs. Non-Gorilla, Mrs. Thing, Mrs. Entity, or the duo Mrs.
Premise and Mrs. Conclusion. "Pepper pot" refers to what the Pythons
believed was the typical body shape of middle-class, British housewives,
as explained by John Cleese in How to Irritate People. Terry Jones is perhaps most closely associated with the Pepper Pots, but all the Pythons were frequent in performing the drag characters.
Brief black-and-white stock footage, lasting only two or three seconds, of middle-aged women sitting in an audience and applauding. The film was taken from a Women's Institute meeting and was sometimes presented with a colour tint.
Other characters appearing multiple times include:
"The Colonel"
(Chapman), a British Army officer who interrupts sketches that are "too
silly" or that contain material he finds offensive. The Colonel also
appears when non-BBC broadcast repeats need to be cut off for time
constraints in syndication.
Arthur Pewtey (Palin), a socially inept, extremely dull man who appears most notably in the "Marriage Guidance Counsellor" and "Ministry of Silly Walks"
sketches. His sketches all take the form of an office appointment with
an authority figure (usually played by Cleese), which are used to parody
the officious side of the British establishment by having the
professional employed in the most bizarre field of expertise. The
spelling of Pewtey's surname is changed, sometimes being spelled
"Putey".
The Reverend Arthur Belling is the vicar
of St Loony-Up-The-Cream-Bun-and-Jam, known for his deranged behaviour.
In one sketch (within Series 2, played by Chapman), he makes an appeal
to the insane people of the world to drive sane people insane. In
another sketch (within Series 3, played by Palin), which is among the
pantheon of fan favourites,
the vicar politely joins a honeymooning couple at an outdoor café,
repeatedly insisting he does not wish to disturb them; he then sits
down, opens a suitcase full of props, and calmly proceeds to smash
plates on the table, shake a baby doll in their faces, bounce a rubber
crab from a ping-pong paddle, and spray shaving cream all over his face,
all whilst loudly chanting nonsense syllables. Rev. Belling's odd
version of 'not being disturbing' serves to convert the couple to his
bizarre sect of Christianity.
A somewhat disreputable shopkeeper, played by Palin, is a staple of
many a two-person sketch (notably "Dead Parrot Sketch" and "Cheese
Shop"). He often speaks with a strong Cockney accent, and has no
consistent name.
Mr. Badger (Idle), a Scotsman whose specialty was interrupting
sketches ('I won't ruin your sketch, for a pound'). He was once
interviewed, in a sketch opposite Cleese, regarding his interpretation
of the Magna Carta, which Badger believes was actually a piece of chewing gum on a bedspread in Dorset. He has also been seen as an aeroplane hijacker whose demands grow increasingly strange.
Mr. Eric Praline, a disgruntled man, played by Cleese and who often wears a Pac-a-Mac. His most famous appearance is in the "Dead Parrot sketch". His name is only mentioned once on-screen, during the "Fish Licence"
sketch, but his attire (together with Cleese's distinctive, nasal
performance) distinguishes him as a recognisable character who makes
multiple appearances throughout the first two series. An audio
re-recording of "Fish Licence" also reveals that he has multiple pets of
wildly differing species, all of them named "Eric".
Arthur Nudge, a well-dressed mustachioed man, referred to in the
published scripts as "Mr. Nudge" (Idle), who pointedly annoys uptight
characters (usually Jones). He is characterised by his constant nudging
gestures and cheeky innuendo. His most famous appearance is in his
initial sketch, "Nudge Nudge", though he appears in several later sketches too, including "The Visitors", where he claimed his name was Arthur Name.
Biggles (Chapman, and in one instance Jones), a World War I pilot. Derived from the famous series of fiction stories by W. E. Johns.
Luigi Vercotti (Palin), a mafioso entrepreneur and pimp
featured during the first series, accompanied in his first appearance
by his brother Dino (Jones). He appears as the manager for Ron Obvious, the owner of La Gondola restaurant and as a victim of the Piranha Brothers. With his brother, he attempts to talk the Colonel into paying for protection of his Army base.
The Spanish Inquisition
would burst into a previously unrelated sketch whenever their name was
mentioned. Their catchphrase was 'Nobody expects the Spanish
Inquisition!' They consist of Cardinal Ximinez (Palin), Cardinal Fang
(Gilliam), and Cardinal Biggles (Jones). They premiered in series two
and Ximinez had a cameo in "The Buzz Aldrin Show".
Frenchmen: Cleese and Palin would sometimes dress in stereotypical French garb, e.g. striped shirt, tight pants, beret,
and speak in garbled French, with incomprehensible accents. They had
one fake moustache between them, and each would stick it onto the
other's lip when it was his turn to speak. They appear giving a
demonstration of the technical aspects of the flying sheep in episode 2
("Sex and Violence"), and appear in the Ministry of Silly Walks sketch as the developers of "La Marche Futile". They also make an appearance in Monty Python and the Holy Grail.
The Compère (Palin), a sleazy nightclub emcee in a red jacket. He
linked sketches by introducing them as nightclub acts, and was
occasionally seen after the sketch, passing comment on it. In one link,
he was the victim of the Knight with a Raw Chicken.
Spiny Norman,
a Gilliam animation of a giant hedgehog. He is introduced in Episode 1
of Series 2 in "Piranha Brothers" as an hallucination experienced by
Dinsdale Piranha when he is depressed. Later, Spiny Norman appears
randomly in the background of animated cityscapes, shouting 'Dinsdale!'
Cardinal Richelieu
(Palin) is impersonated by someone or is impersonating someone else. He
is first seen as a witness in court, but he turns out to be Ron
Higgins, a professional Cardinal Richelieu impersonator. He is later
seen during the "Historical Impersonations" sketch as himself
impersonating Petula Clark.
Ken Shabby (Palin), an unkempt, disgusting man who cleaned public
lavatories, appeared in his own sketch in the first series, attempting
to get approval from another man (Chapman) to marry his daughter
(Booth). In the second series, he appeared in several vox populi segments. He later founded his own religion (as part of the "Crackpot Religions" sketch) and called himself Archbishop Shabby.
Raymond Luxury-Yacht (Chapman) is described as one of Britain's
leading skin specialists. He wears an enormous fake nose made of polystyrene. He proudly proclaims that his name "is spelled 'Raymond Luxury-Yach-t', but it is pronounced 'Throat-Wobbler Mangrove'".
A Madman (Chapman) Often appears in vox pops segments. He wears a bowler hat and has a bushy moustache.
He will always rant and ramble about his life whenever he appears and
will occasionally foam at the mouth and fall over backwards. He appears
in "The Naked Ant", "The Buzz Aldrin Show" and "It's a Living".
Other returning characters include a married couple, often mentioned but never seen, Ann Haydon-Jones and her husband Pip. In "Election Night Special", Pip has lost a political seat to Engelbert Humperdinck.
Several recurring characters are played by different Pythons. Both
Palin and Chapman played the insanely violent Police Constable Pan Am.
Both Jones and Palin portrayed police sergeant Harry 'Snapper' Organs
of Q division. Various historical figures were played by a different
cast member in each appearance, such as Mozart (Cleese, then Palin), or Queen Victoria (Jones, then Palin, then all five Pythons in Series 4).
Some of the Pythons' real-life targets recurred more frequently than others. Reginald Maudling, a contemporary Conservative politician, was singled out for perhaps the most consistent ridicule. Then-Secretary of State for Education and Science, and (well after the programme had ended) Prime Minister Margaret Thatcher,
was occasionally mentioned, in particular referring to Thatcher's brain
as being in her shin received a hearty laugh from the studio audience. Then-US President Richard Nixon was also frequently mocked, as was Conservative party leader Edward Heath, prime minister for much of the series' run. The British police were also a favourite target, often acting bizarrely, stupidly, or abusing their authority, frequently in drag.
Two episodes were produced in German for WDR (Westdeutscher Rundfunk), both titled Monty Python's Fliegender Zirkus,
the literal German translation of the English title. While visiting the
UK in the early 1970s, German entertainer and TV producer Alfred Biolek
caught notice of the Pythons. Excited by their innovative, absurd
sketches, he invited them to Germany in 1971 and 1972 to write and act
in two special German episodes.
The first episode, advertised as Monty Python's Fliegender Zirkus: Blödeln für Deutschland
("Monty Python's Flying Circus: Clowning Around for Germany"), was
produced in 1971 and performed in German. The second episode, advertised
as Monty Python's Fliegender Zirkus: Blödeln auf die feine englische Art
("Monty Python's Flying Circus: Clowning Around in the Distinguished
English Way"), produced in 1972, was recorded in English and dubbed into
German for its broadcast in Germany. The original English recording was
transmitted by the BBC in October 1973.
Prior to the show, the six main cast members had met each other as
part of various comedy shows: Jones and Palin were members of The Oxford Revue, while Chapman, Cleese, and Idle were members of Cambridge University's Footlights,
and while on tour in the United States, met Gilliam. In various
capacities, the six worked on a number of different British radio and
television comedy shows from 1964 to 1969 as both writers and on-screen
roles. The six began to collaborate on ideas together, blending elements
of their previous shows, to devise the premise of a new comedy show
which presented a number of skits with minimal common elements, as if it
were comedy presented by a stream of consciousness. This was aided through the use of Gilliam's animations to help transition skits from one to the next.
Casting
Although
there were few recurring characters, and the six cast members played
many diverse roles, each perfected some character traits.
Chapman
Graham Chapman
often portrayed straight-laced men, of any age or class, frequently
authority figures such as military officers, policemen or doctors. His
characters could, at any moment, engage in "Pythonesque" maniacal behaviour and then return to their former sobriety.
He was also skilled in abuse, which he brusquely delivered in such
sketches as "Argument Clinic" and "Flying Lessons". He adopted a
dignified demeanour as the leading "straight man" in the Python feature films Holy Grail (King Arthur) and Life of Brian (the title character).
Cleese
John Cleese
played ridiculous authority figures. Gilliam claims that Cleese is the
funniest of the Pythons in drag, as he barely needs to be dressed up to
look hilarious, with his square chin and 6' 5" (196 cm) frame (see the
"Mr. and Mrs. Git" sketch). Cleese also played intimidating maniacs, such as an instructor in the "Self-Defence Against Fresh Fruit" sketch. His character Mr. Praline, the put-upon consumer, featured in some of the most popular sketches, most famously in "Dead Parrot". One star turn that proved most memorable among Python fans was "The Ministry of Silly Walks",
where he worked for the eponymous government department. The sketch
displays the notably tall and loose-limbed Cleese's physicality in a
variety of silly walks. Despite its popularity, particularly among
American fans, Cleese himself particularly disliked the sketch, feeling
that many of the laughs it generated were cheap and that no balance was
provided by what could have been the true satirical centrepoint. Another of his trademarks is his over-the-top delivery of abuse, particularly his screaming "You bastard!"
Cleese often played foreigners with ridiculous accents,
especially Frenchmen, most of the time with Palin. Sometimes this
extended to the use of actual French or German (such as "The Funniest
Joke in the World", "Mr. Hilter",
or "La Marche Futile" at the end of "The Ministry of Silly Walks"), but
still with a very heavy accent (or impossible to understand, as for
example Hilter's speech).
Many Python sketches were linked together by the cut-out animations of Terry Gilliam, including the opening titles featuring the iconic giant foot that became a symbol of all that was 'Pythonesque'. Gilliam's unique visual style was characterised by sudden, dramatic movements and deliberate mismatches of scale, set in surrealist landscapes populated by engravings of large buildings with elaborate architecture, grotesque Victorian gadgets, machinery, and people cut from old Sears Roebuck catalogues. Gilliam added airbrush
illustrations and many familiar pieces of art. All of these elements
were combined in incongruous ways to obtain new and humorous meanings.
The surreal nature of the series allowed Gilliam's animation to
go off on bizarre, imaginative tangents, features that were impossible
to produce live-action at the time. Some running gags derived from these
animations were a giant hedgehog named Spiny Norman who appeared over the tops of buildings shouting, "Dinsdale!", further petrifying the paranoid Dinsdale Piranha; and The Foot of Cupid, the giant foot that suddenly squashed things. The latter was appropriated from the figure of Cupid in the Agnolo Bronzino painting Venus, Cupid, Folly and Time and appeared in the opening credits of every series to crush the show's title when it appeared on-screen.
Notable Gilliam sequences for the show include Conrad Poohs and
his Dancing Teeth, the rampage of the cancerous black spot, The Killer
Cars and a giant cat that stomps its way through London, destroying
everything in its path.
Initially only hired to be the animator of the series, Gilliam
was not thought of (even by himself) as an on-screen performer at first,
being American and not very good at the deep and sometimes exaggerated
English accent of his fellows. The others felt they owed him something
and so he sometimes appeared before the camera, usually in the parts
that no one else wanted to play, generally because they required a lot
of make-up or involved uncomfortable costumes.
The most recurrent of these was
The-Knight-Who-Hits-People-With-A-Chicken, a knight in armour who would
walk on-set and hit another character on the head with a plucked chicken
either to end a sketch or when they said something really corny. Some
of Gilliam's other on-screen portrayals included:
Gilliam soon became distinguished as the go-to member for the most obscenely grotesque characters. This carried over into the Holy Grail
film, where Gilliam played King Arthur's hunchbacked page 'Patsy' and
the bridgekeeper at the Bridge of Death as well as the 'deaf and mad'
jailer in Life of Brian. It has also been claimed that he was originally asked by Terry Jones to play Mr. Creosote in The Meaning of Life, but turned it down.
Idle
Eric Idle is known for his roles as a cheeky, suggestive playboy ("Nudge Nudge"), a variety of pretentious television presenters (such as his over-the-top portrayal of Philip Jenkinson in the segments connecting the "Cheese Shop" and "Salad Days"
sketches), a crafty, slick salesman ("Door-to-Door Joke Salesman",
"Encyclopedia Salesman") and the merchant who loves to haggle in Monty Python's Life of Brian.
He is acknowledged as 'the master of the one-liner' by the other
Pythons, along with his ability to deliver extensive, sometimes maniacal
monologues with barely a breath, such as in "The Money Programme".
He is also considered the best singer/songwriter in the group; for
example, he played guitar in several sketches and wrote and performed "Always Look on the Bright Side of Life" from The Life of Brian.
Unlike Jones, he often played female characters in a more
straightforward way, only altering his voice slightly, as opposed to the
falsetto shrieking used by the others. Several times, Idle appeared as
upper-class, middle-aged women, such as Rita Fairbanks ("Reenactment of the Battle of Pearl Harbor") and the sexually-repressed Protestant wife in the "Every Sperm is Sacred" sketch, in The Meaning of Life.
Because he was not from an already-established writing partnership prior to Python, Idle wrote his sketches alone.
Jones
Although all of the Pythons played women, Terry Jones is renowned by the rest to be 'the best Rat-Bag woman in the business'.
His portrayal of a middle-aged housewife was louder, shriller, and more
dishevelled than that of any of the other Pythons. Examples of this are
the "Dead Bishop" sketch, his role as Brian's mother Mandy in Life of Brian, Mrs Linda S-C-U-M in "Mr Neutron" and the café proprietor in "Spam". Also recurring was the upper-class reserved men, in "Nudge, Nudge" and the "It's a Man's Life" sketch, and incompetent authority figures (Harry "Snapper" Organs).
He also played the iconic Nude Organist that introduced all of series
three. Generally, he deferred to the others as a performer, but proved
himself behind the scenes, where he would eventually end up pulling most
of the strings. Jones also portrayed the tobacconist in the "Hungarian translation sketch" and the enormously fat and bucket-vomiting Mr. Creosote in Meaning of Life.
Palin
Michael Palin was regarded by the other members of the troupe as the one with the widest range, equally adept as a straight man or wildly over the top character. He portrayed many working-class northerners, often portrayed in a disgusting light: "The Funniest Joke in the World" sketch and the "Every Sperm Is Sacred" segment of Monty Python's The Meaning of Life. In contrast, Palin also played weak-willed, put-upon men such as the husband in the "Marriage Guidance Counsellor" sketch, the boring accountant in the "Vocational Guidance Counsellor" sketch, and the hapless client in the "Argument Clinic". He was equally at home as the indefatigable Cardinal Ximinez of Spain in "The Spanish Inquisition"
sketch. Another high-energy character that Palin portrays is the slick
TV show host, constantly smacking his lips together and generally being
over-enthusiastic ("Blackmail"
sketch). In one sketch, he plays the role with an underlying hint of
self-revulsion, where he wipes his oily palms on his jacket, makes a
disgusted face, then continues. One of his most famous creations
was the shopkeeper who attempts to sell useless goods by very weak
attempts at being sly and crafty, which are invariably spotted by the
customer (often played by Cleese), as in the "Dead Parrot" and "Cheese Shop" sketches. Palin is also well known for his leading role in "The Lumberjack Song".
Palin also often plays heavy-accented foreigners, mostly French
("La marche futile") or German ("Hitler in Minehead"), usually alongside
Cleese. In one of the last episodes, he delivers a full speech, first
in English, then in French, then in heavily accented German.
Of all the Pythons, Palin played the fewest female roles. Among his portrayals of women are Queen Victoria in the "Michael Ellis" episode, Debbie Katzenberg the American in Monty Python's The Meaning of Life, a rural idiot's wife in the "Idiot in rural society" sketch, and an implausible English housewife who is married to Jean-Paul Sartre.
Production
The first five episodes of the series were produced by John Howard Davies, with Davies serving as studio director, and Ian MacNaughton
acting as location director. From the sixth episode onwards,
MacNaughton became the producer and sole director on the series. Other
regular team members included Hazel Pethig (costumes), Madelaine Gaffney
(makeup) and John Horton (video effects designer). Maggie Weston, who
worked on both makeup and design, married Gilliam in 1973 and they
remain together. The series was primarily filmed in London studios and
nearby locations, although location shooting to take in beaches and
villages included filming in Somerset, Norwich and the island of Jersey.
Pre-production of the series had started by April 1969. Documents
from the BBC showed that the viability of the show had been threatened
around this time when Cleese reminded the BBC that he was still under
contract from David Frost's David Paradine Productions,
who wanted to co-produce the show. The BBC memos indicated the
potential of holding off the show until 1971, when Cleese's contract
with Paradine expired, but ultimately the situation was resolved, though
the details of these negotiations have been lost.
Broadcast
Original broadcast
The first episode aired on the BBC on Sunday, 5 October 1969, at 10:50 p.m.
The BBC had to reassure some of its workers (who were considering going
on strike and who thought the show was replacing a late-night,
religious/devotional programme) by asserting that it was using the
alternative programming to give clergymen time off on their busiest day.
The first episode did not fare well in terms of audience, capturing
only about 3% of the total UK population, roughly 1.5 million, compared
to Dad's Army
that had 22% on the Thursday of that same week. In addition to the
lowest audience figures for shows during that week, the first episode
has had the lowest Appreciation Index for any of the BBC's light entertainment programmes. While public reception improved over the course of the first series,
certain BBC executives had already conceived a dislike for the show,
with some BBC documents describing the show as "disgusting and nihilistic".
Some within the BBC had been more upbeat on how the first series had
turned out and had congratulated the group accordingly, but a more
general dislike for the show had already made an impact on the troupe,
with Cleese announcing that he would be unlikely to continue to
participate after the making of the second series. Separately, the BBC had to re-edit several of the first series' episodes to remove the personal address and phone number for David Frost that the troupe had included in some sketches.
The second series, while more popular than the first, further
strained relations between the troupe and the BBC. Two of the sketches
from the series finale "Royal Episode 13" were called out by BBC
executives in a December 1970 meeting: "The Queen Will be Watching" in
which the troupe mocks the UK national anthem, and the "Undertakers sketch" which took a comedic turn on how to dispose of the body of a loved one. The BBC executives criticised producer MacNaughton for not alerting them to the content prior to airing. According to Palin, via his published diary, the BBC started to censor the programme within the third series following this.
Cleese remained for the third series but left afterwards. Cleese
cited that he was no longer interested in the show, believing most of
the material was rehashes of prior skits. He also found it more difficult to work with Chapman, who was struggling with alcoholism.
The remaining Pythons, however, went on to produce a shortened fourth
series, of which only six episodes were made prior to their decision to
end the show prematurely, the final episode being broadcast on 5
December 1974.
Lost sketches
The
first cut that the BBC forced on the show was the removal of David
Frost's phone number from re-airings of the second episode of the first
season, "Sex and Violence", in the sketch "The Mouse Problem". The
Pythons had slipped in a real contact number for David Frost to the
initial airing, which resulted in numerous viewers bothering him.
Some material originally recorded went missing later, such as the use of the word "masturbating"
in the "Summarize Proust" sketch (which was muted during the first
airing, and later cut out entirely) or "What a silly bunt" in the Travel
Agent sketch (which featured a character [Idle] who has a speech
impediment that makes him pronounce "C"s as "B"s), which was cut before the sketch ever went to air. However, when this sketch was included in the album Monty Python's Previous Record and the Live at the Hollywood Bowl film, the line remained intact. Both sketches were included in the Danish DR K re-airing of all episodes ("Episode 31", aired 1 November 2018, 6:50 pm).
Some sketches were deleted in their entirety and later recovered.
One such sketch is the "Party Political Broadcast (Choreographed)",
where a Conservative Party
spokesman (Cleese) delivers a party political broadcast before getting
up and dancing, being coached by a choreographer (Idle), and being
joined by a chorus of spokesmen dancing behind him. The camera passes
two Labour Party spokesmen practising ballet, and an animation featuring Edward Heath in a tutu. Once deemed lost, a home-recorded tape of this sketch, captured from a broadcast from Buffalo, New YorkPBS outlet WNED-TV, turned up on YouTube in 2008. Another high-quality recording of this sketch, broadcast on WTTW in Chicago, has also turned up on YouTube. The Buffalo version can be seen as an extra on the new Region 2/4 eight-disc The Complete Monty Python's Flying Circus DVD set. The Region 1 DVD of Before The Flying Circus, which is included in The Complete Monty Python's Flying Circus Collector's Edition Megaset and Monty Python: The Other British Invasion, also contains the Buffalo version as an extra.
Another lost sketch is the "Satan" animation following the
"Crackpot Religion" piece and the "Cartoon Religion Ltd" animation, and
preceding the "How Not To Be Seen"
sketch: this had been edited out of the official tape. Six frames of
the animation can be seen at the end of the episode, wherein that
particular episode is repeated in fast-forward. A black and white 16 mm
film print has since turned up (found by a private film collector in the
US) showing the animation in its entirety.
At least two references to cancer were censored, both during the
second series. In the sixth episode ("It's A Living" or "School
Prizes"), Carol Cleveland's narration of a Gilliam cartoon suddenly has a male voice dub 'gangrene' over the word cancer (although this word was used unedited when the animation appeared in the movie And Now for Something Completely Different; the 2006 special Terry Gilliam's Personal Best
uses this audio to restore the censored line). Another reference was
removed from the sketch "Conquistador Coffee Campaign", in the eleventh
episode "How Not to Be Seen", although a reference to leprosy remained intact. This line has also been recovered from the same 16 mm film print as the above-mentioned "Satan" animation.
A sketch from Episode 7 of Series 2 (subtitled 'The Attila the Hun Show') featured a parody of Michael Miles, the 1960s TV game show
host (played by Cleese), and was introduced as 'Spot The Braincell'.
This sketch was deleted shortly afterwards from a repeat broadcast as a
mark of respect following Miles' death in February 1971. Also, the
controversial "Undertaker" sketch from Episode 13 of the same series was
removed by the BBC after negative reviewer response. Both of these
sketches have been restored to the official tapes, although the only
source for the Undertaker sketch was an NTSC copy of the episode,
duplicated before the cut had been made.
Animation in episode 9 of series 3 was cut out following the
initial broadcast. The animation was a parody of a German commercial,
and the original owners complained about the music use, so the BBC
simply removed part of the animation, and replaced the music with a song
from a Python album. Terry Gilliam later complained about the cut,
thinking it was because producer Ian McNaughton "just didn't get what it
was and he cut it. That was a big mistake."
Music copyright issues have resulted in at least two cuts. In episode 209, Graham Chapman as a Pepperpot sings "The Girl from Ipanema", but some versions use "Jeanie with the Light Brown Hair", which is public domain. In the bus conductor sketch in season 3 episode 4, a brief parody of "Tonight" from West Side Story
was removed. Though it was later determined that this version never
even aired on BBC at all, instead was first seen in the American
broadcasts.
There have also been reports of substituting different performances of
classical music in some uses, presumably because of performance
royalties.
A Region 2 DVD release of Series 1–4 was released by Sony Pictures Home Entertainment
in 2007. This included certain things which had been cut from the US
A&E releases, including the "masturbation" line, but failed to
reinstate most of the long-lost sketches and edits. A Blu-ray release of
the series featuring every episode restored to its original uncut
broadcast length was released by Network for the show's 50th anniversary
in 2019.
Rediscovered sketch Ursula Hitler, once deemed impossible to
find, was re-released with the 50th anniversary sets in 2019. Also some
of the extra American broadcast material, for instance the original
parody of "Tonight" from West Side Story in the bus conductor sketch from season 3 episode 4, were included as deleted scenes.
American television
At the time of the original broadcasting of Monty Python in the United Kingdom, the BBC used Time-Life Television to distribute its shows in the United States. For Monty Python,
Time-Life had been concerned that the show was "too British" in its
humour to reach American audiences, and did not opt to bring the
programme across. However, the show became a fixture on the Canadian Broadcasting Corporation beginning in the fall of 1970, and hence was also seen in some American markets.
The Python's first film, And Now for Something Completely Different, a selection of skits from the show released in the UK in 1971 and in the United States in 1972, was not a hit in the USA. During their first North American tour in 1973, the Pythons performed twice on US television, firstly on The Tonight Show, hosted by Joey Bishop, and then on The Midnight Special. The group spoke of how badly the first appearance went down with the audience; Idle described The Tonight Show
performance: "We did thirty minutes [thirty minutes' worth of material]
in fifteen minutes to no laughs whatsoever. We ran out onto the green
grass in Burbank
and we lay down and laughed for 15 minutes because it was the funniest
thing ever. In America they didn't know what on earth we were talking
about."
Despite the poor reception on their live appearances on American
television, the Pythons' American manager, Nancy Lewis, began to push
the show herself into the States. In 1974, the PBS member station KERA in Dallas was the first television station in the United States to broadcast episodes of Monty Python's Flying Circus, and is often credited with introducing the programme to American audiences. Many other PBS stations acquired the show, and by 1975, it was often the most popular show on these stations. And Now for Something Completely Different
was re-released to American theaters in 1974 and had a much better box
office take that time. That would also set the stage for the Pythons'
next film, Monty Python and the Holy Grail, released near simultaneously in the UK and the United States in April 1975, to also perform well in American theaters. The popularity of Monty Python's Flying Circus
helped to open the door for other British television series to make
their way into the United States via PBS and its member stations. One notable American fan of Monty Python was singer Elvis Presley.
Billy Smith, Presley's cousin noted that during the last few months of
Elvis' life in 1977, when Elvis was addicted to prescription drugs and
mainly confined to his bedroom at his mansion Graceland,
Elvis would sit at his room and chat with Smith for hours about various
topics including among other things, Presley's favourite Monty Python sketches.
With the rise in American popularity, the ABC network acquired rights to show select episodes of Monty Python's Flying Circus in their Wide World of Entertainment
showcase in mid 1975. However, ABC re-edited the episodes, thus losing
the continuity and flow intended in the originals. When ABC refused to
stop treating the series in this way, the Pythons took them to court.
Initially the court ruled that their artistic rights had indeed been
violated, but it refused to stop the ABC broadcasts. However, on appeal
the team gained control over all subsequent US broadcasts of its
programmes.
The case also led to their gaining the master tapes of the series from
the BBC, once their original contracts ended at the end of 1980.
The show also aired on MTV in 1988. Monty Python was part of a two-hour comedy block on Sunday nights that also included another BBC series, The Young Ones.
In April 2006, Monty Python's Flying Circus returned to non-cable American television directly through PBS. In connection with this, PBS commissioned Monty Python's Personal Best, a six-episode series featuring each Python's favourite sketches, plus a tribute to Chapman, who died in 1989. BBC America
has aired the series on a sporadic basis since the mid-2000s, in an
extended 40-minute time slot in order to include commercials. IFC
acquired the rights to the show in 2009, though not exclusive, as BBC
America still airs occasional episodes of the show. IFC also presented a
six-part documentary Monty Python: Almost the Truth (The Lawyers Cut), produced by Terry Jones's son Bill.
The
members of Monty Python embarked on a series of stage shows during and
after the television series. These mostly consisted of sketches from the
series, though they also revived material which predated it. One such
sketch was the Four Yorkshiremen sketch, written by Cleese and Chapman with Marty Feldman and Tim Brooke-Taylor, and originally performed for At Last the 1948 Show; the sketch subsequently became part of the live Python repertoire. The shows also included songs from collaborator Neil Innes.
Recordings of four of these stage shows have subsequently appeared as separate works:
Monty Python Live at Drury Lane (aka Monty Python Live at the Theatre Royal, Drury Lane), released in the UK in 1974 as their fifth record album
Monty Python Live (Mostly): One Down, Five to Go, the troupe's reunion / farewell show, ran for 10 shows at The O2 Arena
in London in July 2014. The final performance on 20 July was live
streamed to cinemas worldwide. A re-edited version was later released on
Blu-ray, DVD and double Compact Disc; the CD version is exclusive to
the deluxe version of the release which contains all 3 formats on four
discs housed in a 60-page hardback book.
In 2005, a troupe of actors headed by Rémy Renoux translated and "adapted" a stage version of Monty Python's Flying Circus
into French. Usually the original actors defended their material very
closely, but given in this case the "adaptation" and also the
translation into French (with subtitles), the group supported this
production. The adapted material largely adhered to the original text,
primarily deviating when it came to ending a sketch, something the
Python members themselves changed many times over the course of their
stage performances.
Language differences also occur in the lyrics of several songs. For example, "Sit on My Face" (which translated into French would be "Asseyez-vous sur mon visage") becomes "cum in my mouth".
Reception
Initial reviews
After
the broadcast of the first episode, British newspapers printed brief
reviews of the new program. Reviewers had mixed opinions. One wrote that
the show was "absurd and frivolous", and that it did not "offer
anything very new or exciting".
Another described the show as "enjoyably Goonish", saying that not all
of the material was "scintillating" but that "there was enough packed
into the 30 minutes to raise a few laughs."
The Reading Evening Post's columnist was more enthusiastic, calling the
show "much-needed comedy" and noting that "The real laughs, for me,
came from the crazy cartoon and photo-montage work".
As the series continued, reviews became more positive. After the
third episode, the Guardian's television columnist described the show as
"undoubtedly the high spot of a lot of viewers' weekend", saying the
humour was "whacky rather than satiric."
A week later, the Observer's reviewer gave the series a "strong
recommendation", saying "The material, despite a tendency to prolong a
good idea beyond its natural length, is of a high standard, but what
lifts the show out of an honourable rut is its extraordinary use of
animated cartoons."
However this positive view was by no means unanimous. An Evening
Standard reviewer complained that "last week it almost crushed my
enthusiasm and loyalty forever by transmitting a number of dismal skits
that were little more than broad, obvious slapstick."
Monty Python's Flying Circus placed fifth on a list of the BFI TV 100, drawn up by the British Film Institute in 2000, and voted for by industry professionals.
In a list of the 50 Greatest British Sketches released by Channel 4 in 2005, five Monty Python sketches made the list:
Douglas Adams, creator of The Hitchhiker's Guide to the Galaxy and co-writer of the "Patient Abuse"
sketch, once said "I loved Monty Python's Flying Circus. For years I
wanted to be John Cleese, I was most disappointed when I found out the
job had been taken."
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