Steptoe and Son, with 57 episodes, is a landmark British sitcom that revolutionized the genre with its unique blend of gritty realism, dark humor, and poignant character studies. Created by Ray Galton and Alan Simpson, the series followed the lives of two rag-and-bone men, a father and son, living in a dilapidated house and working from a horse-drawn cart in a London scrapyard. The show’s depiction of working-class life, combined with its sharp writing and superb performances, made it a cultural phenomenon in Britain and its influence can still be seen in comedy today.
The series revolves around Albert Steptoe (Wilfrid Brambell), a manipulative, lazy, and often selfish old man, and his son, Harold (Harry H. Corbett), a frustrated and ambitious man trapped by his obligations to his father. Harold dreams of a better life, often fantasizing about becoming a sophisticated gentleman and pursuing his artistic aspirations. However, he is constantly held back by his father’s manipulative antics and the grim realities of their impoverished existence. Their volatile relationship, marked by constant arguments and petty squabbles, is both the source of much of the show’s comedy and its underlying tragedy.
What made Steptoe and Son so groundbreaking was its unflinching portrayal of working-class life in 1960s and 70s Britain. The show didn’t present a sanitized or idealized version of poverty; instead, it showed the realities of life in a dilapidated house, the drudgery of their work, and the emotional toll it took on the characters. The squalor of their surroundings, and the grime that often seemed to cover everything, was a bold choice for a sitcom. It was a far cry from the more polished and glamorous settings of many television shows of the time. This realistic depiction of the working class was unusual for British sitcoms at the time.
The writing by Galton and Simpson was exceptional, with scripts that were both incredibly funny and deeply poignant. The dialogue was sharp and witty, and the characters were complex and multi-faceted. They were not simply stereotypes of working-class people; they had their own individual hopes, fears, and dreams. They made these characters relatable even when their behavior might be considered unsavory. The show’s ability to find humor in the bleakness of its setting and the often-pathetic nature of its characters was a key element of its success.
Wilfrid Brambell and Harry H. Corbett delivered career-defining performances as Albert and Harold Steptoe. Brambell, an Irishman, played Albert with a convincing Cockney accent and a remarkable level of comic skill. He made Albert both despicable and oddly lovable. Corbett, as Harold, was able to balance frustration, anger, and moments of tenderness. Their on-screen chemistry was palpable, and the interplay between their characters was the cornerstone of the series.
While the series was primarily a comedy, it often explored more serious themes, such as aging, loneliness, and the struggle for social mobility. The bleakness of their situation and the way their relationship was constantly undermined made it quite a downbeat show at times, despite its comedic veneer. This mix of comedy and drama was a major reason the show had such an impact. Steptoe and Son’s influence can be seen on many other sitcoms from the 1970s onward.
