- 2 years ago
The phrase "nearest and dearest" often evokes a sense of warmth, family, and close relationships. It's a term that brings to mind the people we hold closest to our hearts—our family, friends, and loved ones. However, in the context of British television, "Nearest and Dearest" takes on a different meaning, referring to a classic sitcom that captured the hearts of many.
"Nearest and Dearest" was a British television sitcom that aired from 1968 to 1973. The show starred Hylda Baker and Jimmy Jewel as Nellie and Eli Pledge, siblings who inherit their father's pickle business in Colne, Lancashire. The series was known for its humor derived from the characters' squabbles, malapropisms, and the unique dynamics of a family-run business.
The premise of the show was simple yet effective: Nellie, a hard-working spinster, and Eli, a womanizing slacker, must run the family business together to inherit their father's fortune. This setup led to comedic situations and memorable catchphrases that are still recognized by fans of classic British comedy.
Despite the on-screen chemistry between Baker and Jewel, it was widely reported that the two did not get along off-screen, adding a layer of intrigue to the show's history. Their tumultuous relationship is often cited as one of the most toxic in British sitcom history.
"Nearest and Dearest" also serves as a cultural touchstone, reflecting the era's social norms and the changing landscape of British comedy. It's a show that, while rooted in the 1960s and 70s, continues to find new audiences who appreciate its wit and charm.
For those who grew up watching "Nearest and Dearest," the show remains a nostalgic reminder of a bygone era of television. And for newcomers, it offers a glimpse into the rich tapestry of British humor and the timeless appeal of family dynamics in storytelling.
Whether you're revisiting the series or discovering it for the first time, "Nearest and Dearest" stands as a testament to the enduring nature of well-crafted comedy and the universal themes of family and ambition. It's a piece of television history that continues to be nearest and dearest to many viewers' hearts.
Listen to our radio station Old Time Radio https://link.radioking.com/otradio
Listen to other Shows at My Classic Radio https://www.myclassicradio.net/
Entertainment Radio | Broadcasting Classic Radio Shows | Patreon
Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
"Nearest and Dearest" was a British television sitcom that aired from 1968 to 1973. The show starred Hylda Baker and Jimmy Jewel as Nellie and Eli Pledge, siblings who inherit their father's pickle business in Colne, Lancashire. The series was known for its humor derived from the characters' squabbles, malapropisms, and the unique dynamics of a family-run business.
The premise of the show was simple yet effective: Nellie, a hard-working spinster, and Eli, a womanizing slacker, must run the family business together to inherit their father's fortune. This setup led to comedic situations and memorable catchphrases that are still recognized by fans of classic British comedy.
Despite the on-screen chemistry between Baker and Jewel, it was widely reported that the two did not get along off-screen, adding a layer of intrigue to the show's history. Their tumultuous relationship is often cited as one of the most toxic in British sitcom history.
"Nearest and Dearest" also serves as a cultural touchstone, reflecting the era's social norms and the changing landscape of British comedy. It's a show that, while rooted in the 1960s and 70s, continues to find new audiences who appreciate its wit and charm.
For those who grew up watching "Nearest and Dearest," the show remains a nostalgic reminder of a bygone era of television. And for newcomers, it offers a glimpse into the rich tapestry of British humor and the timeless appeal of family dynamics in storytelling.
Whether you're revisiting the series or discovering it for the first time, "Nearest and Dearest" stands as a testament to the enduring nature of well-crafted comedy and the universal themes of family and ambition. It's a piece of television history that continues to be nearest and dearest to many viewers' hearts.
Listen to our radio station Old Time Radio https://link.radioking.com/otradio
Listen to other Shows at My Classic Radio https://www.myclassicradio.net/
Entertainment Radio | Broadcasting Classic Radio Shows | Patreon
Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
Category
😹
FunTranscript
00:30oh yeah everything's everything it says in this advertisement is true I mean
00:51this furnished cottage is a genuine antique and it's very old as well
00:57it's been steeped in history it's a pity you weren't steeped in Arpick
01:05well it'll be somewhere for us to come to when we want to get out of it get out
01:10of it get we'll be getting deeper into it in this place you can't be seriously
01:15thinking about buying this falling-down dump look at it even bloody Kathy
01:20wouldn't come home here falling down this place is it's more thicker than
01:28your thick head I can stick it look at it this place is worth buying for the
01:46furniture alone look at that table that's genuine Wedgwood made by an
01:53English craftsman with loving infection they don't make furniture like that
01:59anymore don't make furniture like that anymore
02:06that bloody does it that does you must be pots for rags you must wanted to
02:18spend a little bit of profit the purchase pickles has made on this place
02:21I mean it's so cold upon these moors that even the bloody sheep have got the
02:25legs crossed don't be silly what do you think you know nothing from nothing what
02:34do you think these big business typhoons do with their money get better
02:38to grab hold of a bird no they infest it in bricks and stones and suppose we
02:46could buy this cottage and this could be our holiday home what could be better
02:50than that about a month in New York array with that Spanish dance I met last
02:54year only only me know with a big castanets
03:00they're not spending any money on her not why we can come up here and breathe
03:05in God's green air and get away for the mudding pong
03:16that room box from village and from Boston I've made me hungry just a minute
03:22and I see if I can make you a cup of tea
03:30I'm yeah I'm hungry all right I've got the message don't worry sorry Eli seems
03:45to be just a little bit wrong with the plumbing
03:50hello it's Idleweiss and Idleburger oh you got here then oh sorry we've been so
04:00long but Walter got stuck in a bog don't tell me he's found it already
04:08off the bus and Walter set off running oh yes well it had been a long journey
04:12oh no look it wasn't that no it was anxious to show it to me again
04:19that place where we used to go rambling oh yeah it's been rambling ever since
04:24empty I know you still like a little ramble didn't you hey rambling on the
04:31big mountain moors with the wind in your hair pity it blew it off
04:39it's always liked it outdoors yes I remember him bringing me a lucky sprig
04:46of heather I went to put it in a vase turn round fell over the cat and broke
04:53me ankle does he still yodel whenever he gets the chance I know you like a bit of
05:01a yodel yeah but you want to be careful at your age you know you might strain
05:05it which one of you happy wanderers has got our chip butties oh Walter's got
05:11them in his rucksack come on Frank I feel a little bit of a picnic in the
05:14castle well what do you think Lily not bad considering considering what but it
05:21was my idea in the first place you know very well me and Walter have been
05:24looking for somewhere like this don't be ridiculous I did nothing of the
05:28such which you saw this place ringed in our local paper when you and Elia came
05:32round for your tea oh yes I seem to remember your Walter was just turning it
05:36into squares and you came in and stopped him you must have gone straight round to
05:41that estate agent and he's given you first refusal behind my back what what he
05:46gave me first refusal up my front I mean he's had me down for weeks waiting for
05:51something to turn up that's just typical of your side of the family Nelly pledge
05:54what are you talking about whatever we've ever had you've had to have like
05:59that time when my mother got a new Fox for your mother had to have one oh yes I
06:04remember it was when that ginger Tomcat was missing from the chippy I'm saying
06:12nothing but when that Fox first saw our dog it ran right up that tree
06:19we are walking straight back to the bus stop now no going to that estate agent
06:26with a quick as I'm not my stomach this time came from in there
06:47oh look another bedroom we've won those beds with the roof on it it won't rain
06:54in on you in here Eli Eli where are you? Eli! Eli! Where the hell are you?
07:09Eli! Where are you?
07:17Eli! Where are you?
07:22Eli! He must have gone in the kitchen
07:29No, he's not in the kitchen. He must have gone for a walk. What's that doing here?
07:37No business to be in here. He shouldn't be in here.
07:43My mother! What are you doing?
07:48Trespassing on other folks property eh? Stand back! Stand back!
07:53Whatever you are, whatever you're going to do, don't do it to me!
07:57What the hell's going on here?
07:59Oi, my dear ginger Tomcat, where have you been?
08:02Well I went to find the littlest loom in the house. I found it in the backyard.
08:06What's he doing here?
08:08The estate agent asked me to keep an eye on this place.
08:11I was muck spreading in the valley when I saw this.
08:13Yes, I could smell that strange effluvia.
08:16Well you see we're receptive buyers.
08:19Yeah, didn't the estate agent tell you we were coming?
08:22Oh, maybe that was in the letter my sheepdog ate this morning.
08:27He likes to get a letter you know. If he can't get the postman that is.
08:35Well I mean, who are you?
08:37I live down the road.
08:39Oh aye, sitting cave aren't I?
08:42Yeah, you'll be on the top of Moor's cottage. I'm Willa Fredge.
08:46Willa what?
08:47Willa Fredge, that's me name. You see up here on Moor, all lads are named after their father.
08:52My father were Fredge and I am his son Will, so that makes me Willa Fredge.
08:58Well, couldn't he have called you Son of Fredge?
09:03No, because that would have sounded daft wouldn't it?
09:07And who's thee?
09:08Well, I'm me and he's him and I'm me.
09:13They're they, aye.
09:14Right, well I'm me and he's him.
09:17No, I'm me you see and she's my sister see.
09:19Sister? Brother and sister are you? And you haven't in mind to live here?
09:24Yes, well I mean we're just for high days and holidays. I mean, what's wrong with that?
09:29Hast not heard the legend of Mucks and Moor?
09:33I've not heard anything about Mucks Fred Moor.
09:38There was a brother and a sister lived here once until one night they vanished from the face of the earth.
09:45Who did? What did? When?
09:46It was a night when the mist, which we call the Moorgrime, came swirling down, swirling down from Yonhill.
09:55The brother and sister were in bed and in dead of night they had a mystery caller.
09:59They heard the name of an horse and a cloppity clop and a clickity click.
10:04Must have been the bloody bingo caller.
10:07Oh shut up you. What happened then?
10:09Well there was a loud hammering on door.
10:12The brother and the sister, I said the brother and the sister, they vanished never to be seen again.
10:20Must be a perfectly simple explanation.
10:23It is the mistress, well think on it. I said think on it.
10:25Because look, the Moorgrime is swirling, swirling down again from Yonhill.
10:31Well, I wouldn't live here tonight. Not in this house, not tonight.
10:39Nay, not tonight.
10:42Oh, not tonight.
10:45Oh, some folk can't half tell a tale, eh?
10:49They can, can't they?
10:50You don't believe in all that nonsense about the horse's name and the brother and sister disappearing, eh?
10:55Of course I don't.
10:57Where are you going?
10:59To get my bloody bus.
11:00Eh?
11:02Oh.
11:03What?
11:04Oh.
11:05Oh, Walter.
11:06There's somebody out there.
11:08No.
11:09Can we in?
11:12Well, Ian, Walter.
11:14What the hell are you two doing back here?
11:16Well, it's not from choice. Buses have stopped running because of the fog.
11:20Oh, well, there's only one thing for it, we'll all have to stop here tonight, won't we?
11:24Aye, and it's all your flaming fault, innit?
11:26What do you mean?
11:27I'll make sure to get back to it, especially that bit I've got lined up for tonight.
11:30Oh, shut up, you big girl's blouse.
11:33We can all be nice and comfy and cosy together.
11:37But if any of you should hear a horse knocking on the door in the night,
11:45don't let it in.
11:57Ah, there's some blankets in here.
12:14Ah, there's one.
12:17Catch.
12:19Here's another one.
12:21Another one.
12:23Walter.
12:25Oh, you gave me quite a turn.
12:27I thought you were the Phantom of the Fog.
12:30Just as if.
12:31I know there's no such thing.
12:35Mile.
12:37He can't see the pit you know's out there.
12:41Eli.
12:42What?
12:43Do you believe that spooky story that man told about this cottage?
12:46Who, me?
12:49Of course not.
12:51No, your Nellie mustn't believe it either.
12:54If she really thought this place was haunted, well, she'd never come near it again.
12:57You're right there, Nellie.
12:59She'd be out that door so fast it would be...
13:02That's right, if she really did believe it was haunted, yes.
13:07Oh, Eli.
13:09I've got some blankets.
13:12So, come on, love.
13:15We can all be nice and cosy and comfy down here.
13:18Down here? What do you mean?
13:20We're not stopping down here when there's a comfortable double bed in that double bedroom next door.
13:25We're not going up there to sleep in that bedroom up there.
13:28Why have we not? I mean, I've got Walter.
13:31And he's not frightened of ghosts.
13:34Well, the bloody ghosts are frightened of him.
13:37Come on, Walter.
13:40Now then, Nellie, why don't you have that double bed in that front room, eh?
13:44What, you mean go upstairs in that four-wheeler bed?
13:47Yes.
13:49I thought I'd keep you company down here.
13:52Oh, I'll be all right. You have the bed, eh?
13:55What do you mean, that bed up there?
13:58Yes.
14:00I can't.
14:02Why not?
14:03There's no bulb in the light.
14:06I wouldn't be able to see myself going to sleep.
14:09Well, you've got your storm lamp, haven't you?
14:12Come on, off you go.
14:14Storm lamp?
14:15Yes, off you go now.
14:17You've got your storm lamp.
14:20Eli.
14:21Yeah?
14:23Would you like a cup of cocoa?
14:25We haven't got any bloody cocoa!
14:27Go on, get off the bed. I'm going to get a bit of sugar, I don't take it.
14:31Can I be here?
14:42Eli?
14:43What now?
14:47Goodnight.
14:54Now, Nellie, you'll sleep tight, so don't be frightened.
15:18Goodnight.
15:26Good evening.
15:29Goodnight.
15:35Guardian angel overhead, look after me while I'm in bed.
15:48Oh, don't be a fool.
15:51It's only an owl saying twit to you.
16:09Think of something nice, and you'll sleep like the dead.
16:13What am I saying?
16:17Grrrr!
16:42Well, there we are.
16:46That ought to scare the old bat off me in this place.
16:51Majorca, here I come.
17:09What the hell did you do that for, you daft old bat?
17:12That's for trying to scare the skin off me by being a phantom lamp swinger.
17:17What? How did you know it were written on a real ghost?
17:21Well, if it was, it won't be stopping here for long.
17:24Why not?
17:25It'll be going on its holidays to Majorca.
17:28I found this brochure in the middle of my bedroom.
17:32Your big girl's blouse.
17:35Well, it was you, wasn't it? You forced me into it, didn't you?
17:37Force you into it?
17:39That's you all over. You've got no condensation for me at all.
17:45Trying to thwart me.
17:47Well, I'm going to bed now, you big fleas-armpit.
17:54And just you stop it off, you thwarting thwarterer.
18:01Oh, Raquel.
18:06Put some more sun oil on me back.
18:13Oh, go away, Walter. Stop messing about.
18:16Go on.
18:21You silly old bat's trying to get her own back, is she?
18:25You silly old bat's trying to get her own back, is she?
18:28I'll play me sure.
18:33What's the flaming idea?
18:35I don't know, Mr. Ram.
18:37It's me, you daft caterer.
18:40Yes, let it ring, you big brewer's boy, you.
18:44What's the idea?
18:47I told you to stop it off.
18:49I have stopped it off.
18:51I have stopped it off. That doesn't mean you've got to start, does it?
18:54What do you mean, start?
18:56Play tricks on me with Top Head here.
18:58And he knows his thing. I've never left that big four-wheeler.
19:02Well, if we want you, who the hell could it be?
19:09Lily and Walter.
19:12Lily thought I was going to sleep downstairs.
19:16And she was going to scare me like you were going to scare me.
19:20So I wouldn't buy this place.
19:24She's at it again.
19:26I don't know how she can do it to us.
19:28Just you give over, Nellie Pledge.
19:30What are you talking about? Trying to frighten me and Walter.
19:33Frighten you? And I know she's nothing.
19:35Just so we won't make a bigger offer for this place.
19:38There I was, lying in bed next to Walter when I felt it move.
19:44It wasn't me.
19:46No, it couldn't have been Aunt Nellie. She's been here with me all the time.
19:49What are you saying?
19:51What's that doing here?
19:53You might well ask her, haven't you?
19:55You've been doing a bit of frightening without yourself, haven't you?
19:57What are you talking about?
19:59Me and Walter haven't left that room all night.
20:02Oh, is that right, Walter?
20:05Well, what can't speak can't lie.
20:09Well, I'll tell you.
20:11It's not my imagination.
20:13I'm certainly not Cain Lyde and I should be at this time on a Saturday night.
20:17And I didn't do it to you.
20:19And I didn't do it to...
20:21Then who...
20:23did it to who?
20:25Ooh!
20:29Now, will it be safer if we all stick together?
20:32Whatever's doing it might be down here.
20:34Yes.
20:35Well, ladies first, then.
20:37Get over there, you big girl's blouse.
20:40I can smell that strange effluvia again.
20:44I'm not that afraid.
20:47I've sniffed that sniff before.
20:51It's in there.
20:55There. I recognise that face.
20:59Come on, I'll get you out of that. Come on.
21:01Come on out of it. Come on.
21:03Down you get. There we are.
21:05You muck-spreading marauder.
21:07Go on, get in there.
21:08So it's you that's been going bump in the night.
21:10In another minute I'll give you a bump on the head.
21:12What's the idea of coming in here and making a stink?
21:14Well, if you must know, I was trying to frighten you off.
21:16I don't like you posh city slickers coming up to Moors with your jet-set ways.
21:21Is it not true, then, about that horseman that came up out of the mist and hammered on the door?
21:25That's a Lord of Local Cods wallop.
21:28There you are, I realise.
21:30I knew it was a fig leaf of our imagination.
21:33Well, you don't think I believed it, do you, phantom bloody horseman?
21:38Hammering on the door.
21:41Have you thought we'd be afraid?
21:43Yes.
21:51It's true, after all.
21:53And he's come to get us.
21:55Come on, Walter.
21:57Go away. We don't want any.
21:59Hey, shut up. You'll aggravate him.
22:03Are you the phantom horseman of Muxom Moor?
22:07Mr. Harden, for heaven's sake.
22:11Oh, there you are, Mr. Nelly.
22:17What's you stand? And not someone who's come from Hades?
22:20No, I come through Halifax.
22:24Is there a difference? How do you get here?
22:26Horse and cart. There's no butsies running.
22:29Oh. Well, what have you come for?
22:32The estate agent sent for me.
22:34You can't have this cottage, after all.
22:37They're putting a new motorway through here.
22:40It's all here in paper.
22:42Motorway through here?
22:44All them fumes polluting the atmosphere?
22:49You're not doing so bloody bad yourself.
22:52Out of my way.
22:54Where are you going?
22:56To warn my sheep.
22:59What are sheep? Look at that.
23:01Mystery explosion.
23:03Beetroots bombarding Bolton.
23:06Workmen hit by flying gherkin.
23:09Oh, I knew there was something else.
23:12When you left factory yesterday,
23:15the beetroot boiler blew up.
23:17That's you, Harry, lad.
23:19You were supposed to put that boiler out.
23:21Now the people of Bolton are walking about red-faced,
23:23and there's a fellow walking about
23:25with a gherkin up his jerkin.
23:28For two pence, I'll shove this...
23:30Ah, shut up, you ball-legged old boiler.
23:33I'll shove this right up your shirt where it hurts.
23:36Get off me.
23:38Get off me.
23:57APPLAUSE
24:58MUSIC FADES
25:14Oh, Ela.
25:16Everything it says in this advertisement is true.
25:19I mean, this furnished cottage is a genuine antique,
25:23and it's very old as well.
25:26For hundreds of years, it's been steeped in history.
25:30Ah, it's a pity you weren't steeped in our pick.
25:35Well, it'll be somewhere for us to come to
25:37when we want to get out of it.
25:39Get out of it? Get...
25:41We'll be getting deeper into it in this place.
25:43You can't be seriously thinking about buying this falling-down dump.
25:46Look at it.
25:48Even bloody Cathy wouldn't come home here.
25:52Falling down?
25:54This place is more thicker than your thick head.
25:58Look.
26:02All right, shut up, you big girl's blouse.
26:05I can stick it.
26:07Yes, that's what you want to tell the estate agent.
26:12Look at it. This place is worth buying for the furniture alone.
26:16Look at that table. That's genuine wedgewood.
26:21Made by an English craftsman with loving infection.
26:26They don't make furniture like that any more.
26:32Don't make furniture like that any more.
26:42That bloody does it, that does.
26:44You must be pots for rags, you must.
26:47Wanted to spend a little bit of profit,
26:49but you can't imagine the sacrifices made on this place.
26:52I mean, it's so cold upon these moors
26:54that even the bloody sheep have got their legs crossed.
Comments