IMDb > Steptoe and Son (1972)
Steptoe and Son
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Steptoe and Son (1972) More at IMDbPro »


Overview

User Rating:
6.7/10   981 votes »
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Popularity: ?
Down 42% in popularity this week. See why on IMDbPro.
Director:
Writers:
Ray Galton (written by) and
Alan Simpson (written by)
Contact:
View company contact information for Steptoe and Son on IMDbPro.
Release Date:
7 January 1972 (UK) See more »
Genre:
Plot:
Albert Steptoe and his son Harold are junk dealers, complete with horse and cart to tour the neighbourhood... See more » | Add synopsis »
Awards:
1 win See more »
User Reviews:
Chief example of stunted British folly, in place of film. See more (12 total) »

Cast

  (in credits order) (complete, awaiting verification)
Wilfrid Brambell ... Albert Steptoe
Harry H. Corbett ... Harold Kitchener Steptoe

Carolyn Seymour ... Zita
Arthur Howard ... Vicar

Victor Maddern ... Chauffeur
Fred Griffiths ... Barman
Joan Heath ... Zita's mother
Fred McNaughton ... Zita's father
Lon Satton ... Pianist
Patrick Fyffe ... Arthur (as Perri St. Claire)

Patsy Smart ... Mrs. Hobbs
Mike Reid ... Compere
Alec Mango ... Hotel Doctor
Michael Da Costa ... Hotel Manager (as Michael da Costa)
Enys Box ... Traffic Warden
Neil Wilson ... Airline Clerk
Bart Allison ... Tramp
Caroline Eves ... Flamenco Dancer
Julian Alonso ... Guitarist
Julia Goodman ... Lady Courier
Vivien Lloyd ... Bride
Gary Wraight ... Baby
Selina Becket ... Baby
rest of cast listed alphabetically:
Harry Fielder ... Man at Strip Club (uncredited)

Barrie Ingham ... Terry (uncredited)
Eric Kent ... 2nd Man at Strip Club (uncredited)
Arthur Mullard ... Uncredited (uncredited)
Dido Plumb ... Tramp (uncredited)
Fred Wood ... Strip Club Patron (uncredited)

Directed by
Cliff Owen 
 
Writing credits
Ray Galton (written by) and
Alan Simpson (written by)

Produced by
Beryl Vertue .... executive producer
Aida Young .... producer
 
Original Music by
Roy Budd 
Jack Fishman 
 
Cinematography by
John Wilcox (director of photography)
 
Film Editing by
Bernard Gribble 
 
Production Design by
Peter Mullins 
 
Art Direction by
Bernard Sarron 
 
Makeup Department
Patricia McDermott .... hairdressing supervisor (as Pat McDermot)
Heather Nurse .... makeup supervisor
 
Production Management
Christopher Sutton .... production supervisor
 
Second Unit Director or Assistant Director
Ariel Levy .... assistant director
 
Art Department
Terry Apsey .... set constructor
Jack Carter .... set constructor
John Leuenberger .... property master
 
Sound Department
Frank Goulding .... sound editor
Trevor Pyke .... dubbing mixer
Kevin Sutton .... sound recordist
 
Camera and Electrical Department
Chic Waterson .... camera operator
Len Crowe .... gaffer (uncredited)
Martin Evans .... best boy (uncredited)
 
Costume and Wardrobe Department
Dora Lloyd .... wardrobe supervisor
 
Music Department
Acker Bilk .... musician: clarinet, end title music (as Mr. Acker Bilk)
Roy Budd .... music arranger
Jack Fishman .... music arranger
Ron Grainer .... composer: theme music
 
Other crew
Zelda Barron .... continuity (as Zelda Baron)
Nat Cohen .... presenter
Vy Tye .... choreographer: striptease routine (as Vi Tye)
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Runtime:
98 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Australia:M | Iceland:L | UK:A (original rating) | UK:PG (video rating) (1989)

Did You Know?

Trivia:
The 'drag act' performing the night Harold meets Zita is Patrick Fyffe - who a few short years later would become Dame Hilda Bracket, of the hugely popular musical comedy act 'Hinge and Bracket'.See more »
Goofs:
Continuity: Baby Albert is wearing a blue babygrow when he's carried across the yard by Harold. He's not wearing it when Harold enters the house with him, and he hasn't got it on when he's discovered in the barn by Albert and Harold in the first place.See more »
Quotes:
Albert Steptoe:[About Zita] You can be poor without being common, and she was common!See more »
Movie Connections:
Spin off from "Steptoe and Son" (1962)See more »

FAQ

This FAQ is empty. Add the first question.
12 out of 35 people found the following review useful.
Chief example of stunted British folly, in place of film., 6 January 2005
Author: Tom May (joycean_chap@hotmail.com) from United Kingdom

"Women? They're all scrubbers...!"

No, not a good translation; not at all! This lags behind the previous year's "Dad's Army", entirely missing the special, small-screen magic of the seminal television sitcom original, and failing to play interestingly at all with the big screen... you could just about say that this film well represents a Britain entering decline, and more precisely even than that, a *British film industry* entering decline. And that is hardly a recommendation, is it? To be an exemplar of saddening folly...

All that remains after the subtlety of the TV original has been surgically stripped away, by Cliff Owen, Galton and Simpson are: endless, dilapidated musical cues, yawn, from the Ron Grainer theme... bolstered sentimentality (that shoddy, thick-eared ending... how much bolder does the second Steptoe film seem in comparison) an increased seediness - with director and writers seemingly detaching themselves completely - fully applicable to something like the 'misbegotten monstrosity' (yours truly on this site) from 1973, "The Mutations". There is a strangely botched, cut-adrift tone about the scene where Harold is beaten up in a rugby club, that I partly hate and recoil it (so far, as a friend intimated, from the mood of the TV series...), but this at least seems an original slant, and emblematic of tensions just rising to the boil in the Britain of 1972... There is, however, an implied prostitute, aye of a 'heart-of-gold' who turns loose woman-traitor 'pon poor auld 'Arold - and beyond-caricature writing of the 'class' element; not to mention, surprisingly misjudged performances from the usually redoubtable leads. Brambell and Corbett collude with the script, and indeed fail to cure it of an essential ham. What would Anthony Aloysius Hancock have made of it all...? I will merely concede that a few moments just about work - chiefly those where G & S play things a little more carefully and B & C touch tenderer nerves - and it is not on the whole an unwatchable affair.

But, and oh, how this pains me to say it: it is tiresome, boring, both wilfully detached from reality and what made the TV series great, and also fully in tune with the lazy, tawdry, misogynist 'fuck it, that'll do...' actuality of much of what was allowed to pass for mainstream film-making in the Britain of the time.

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