by Helen Langdon
The people who decide DVD releases are baffling. You used to be able to buy three episodes of Doctor Who on a single disc, at the same time as you could buy the entire series boxset. But that was pure money-grabbing tactics. What’s more confusing is the fact that Asylum has never received a release, despite the subsequent success of the creative team. It was written by David Walliams (pre-Little Britain) and Edgar Wright, and stars Jessica Hynes and Simon Pegg. The next thing those three worked on together was Spaced, which put into motion the Cornetto Trilogy, which have to be some of the most successful British films of the past decade. And then there’s the other cast members, at least half of which are successful comedians in their own right: Norman Lovett, Bill Bailey, Julian Barrett, Andy Parsons...
The people who decide DVD releases are baffling. You used to be able to buy three episodes of Doctor Who on a single disc, at the same time as you could buy the entire series boxset. But that was pure money-grabbing tactics. What’s more confusing is the fact that Asylum has never received a release, despite the subsequent success of the creative team. It was written by David Walliams (pre-Little Britain) and Edgar Wright, and stars Jessica Hynes and Simon Pegg. The next thing those three worked on together was Spaced, which put into motion the Cornetto Trilogy, which have to be some of the most successful British films of the past decade. And then there’s the other cast members, at least half of which are successful comedians in their own right: Norman Lovett, Bill Bailey, Julian Barrett, Andy Parsons...
Asylum aired in the UK in 1996 on Channel 4. It’s a strange sort of show, both in subject matter and style. In the first episode, Simon (Pegg), a pizza deliveryman, turns up at the titular asylum with a pizza no-one wants to claim. But then he can’t leave. The asylum’s doctor, Dr Lovett (Lovett), tells Simon that all of the inmates are volunteers who have been subjected to psychological experiments – such as surrounding a painter and decorator with Renaissance art, or turning a singer into a mute who can only communicate via guitar chords.
Paramount There’s very little story in most of the episodes, with maybe five to ten minutes focussing on the plotline of Simon trying to understand what’s happening and trying to escape. The rest of the time is taken up by stand-up routines from the other cast members, and guest stars who never interact with the main storyline. And then at the end of each episode, there’s a song from the band David Devant and His Spirit Wife. Usually those songs have no relation to the plot, beyond the singers sometimes appearing to be in a hospital. It’s a strange addition, given that the songs themselves aren’t comic. Overall, it’s a very strange mish-mash of a show, not wholly definable. It’s probably most accurate to call Asylum a kind of comedic variety show.
Given that it’s so early on in everyone’s careers, it’s interesting to watch to see the genesis of some of the more distinctive styles that would make everyone involved famous. Take Edgar Wright’s famously referential directing, crammed full of pop culture references even in the way shots are constructed. That’s here in its infancy, from an echo of One Flew Over the Cuckoo’s Nest to the Mexican standoff that ends the final episode. It’s not as quick and dynamic as his later work, which is generally made up of close-ups and quick pans to keep the action moving. Instead it’s slower, with more Dutch angles to mirror the unease and slight insanity of the inhabitants.
Given that it’s so early on in everyone’s careers, it’s interesting to watch to see the genesis of some of the more distinctive styles that would make everyone involved famous. Take Edgar Wright’s famously referential directing, crammed full of pop culture references even in the way shots are constructed. That’s here in its infancy, from an echo of One Flew Over the Cuckoo’s Nest to the Mexican standoff that ends the final episode. It’s not as quick and dynamic as his later work, which is generally made up of close-ups and quick pans to keep the action moving. Instead it’s slower, with more Dutch angles to mirror the unease and slight insanity of the inhabitants.
Paramount Asylum isn’t the pinnacle of British comedy, but it’s an interesting and unconventional take on what a comedy show could do. Why should there be a narrative throughout the series? And part of the joy of it is that although you personally might find some of the stand-up bits not to your taste, comedy is inherently subjective, and someone else might quote that bit endlessly. But Asylum’s main joy is in its main cast, especially Julian Barratt (marvellously surrealist and imperiously insane), Jessica Hynes (who doubles up to play amiable inmate Martha and main villain Nurse McFadden) and Paul Morocco (who doesn’t speak until the final few minutes of the series, but does get a flamenco guitar duel).
One day, Asylum might be available in glorious Technicolor for all to watch. Until then, if you can manage to catch it, go in with an open mind and don’t expect to see your run-of-the-mill sitcom.
One day, Asylum might be available in glorious Technicolor for all to watch. Until then, if you can manage to catch it, go in with an open mind and don’t expect to see your run-of-the-mill sitcom.
Did you watch Asylum when it came out?
What did you think of it?
Let us know in the comments!
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