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Lady Don't Fall Backwards
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May 16, 2025
The title 'Lady Don’t Fall Backwards' is derived from a fictional pulp book referenced in a Hancock’s Half Hour script by Ray Galton and Alan Simpson, which revolves around Hancock's endeavour to unravel a mystery when he realizes that the last page is absent. This title is also shared with a memoir authored by Joan Le Mesurier.
The book chronicles Joan’s challenging yet affectionate upbringing during the war in Northern England. She later supported her industrious father in the fairground business and eventually found love in the early 1950s with a young actor named Douglas Malin, who later became known as Mark Eden.
Following a failed marriage and a move to London, Joan's narrative swiftly transitions to the early 1960s, when a serendipitous visit to the Establishment Club introduces her to actor John Le Mesurier, whose marriage to actress Hattie Jacques was deteriorating.
Lady Don’t Fall Backwards details the evolution of Joan and John’s friendship into a romantic relationship, which, after their marriage, leads Joan to engage in an extramarital affair with John’s close friend, the comedy actor Tony Hancock. Joan's affair with Hancock has been the subject of extensive media coverage over the past forty years; however, the complete account is presented in this book. Despite appearing to be in love with her charming husband, Joan feels compelled to care for the troubled Hancock, who is descending into a prolonged depression exacerbated by alcohol dependence following a decline in his popularity and two failed marriages.
The book meticulously documents Joan's relationship with Hancock, showcasing her unwavering love and dedication amidst his erratic behavior, which jeopardizes her comfortable life with the loyal and genuine John Le Mesurier. Ultimately, the narrative reveals not only the challenges of her relationship with Hancock but also the emotional toll of coping with her grief after his suicide in June 1968.
One of the most captivating aspects of this book is Joan's blend of sophisticated prose and occasional raw descriptions, which I found both charming and sincere. Although admirers of John Le Mesurier and Tony Hancock may have differing opinions regarding Joan's actions in this narrative, it is undeniable that John exemplifies unwavering commitment and forgiveness as the plot progresses—traits that many of us are often quick to dismiss in our own lives.
I appreciated this memoir and am grateful that Joan chose to share it, as it offers a candid perspective on her relationships with two comedic icons and her own admirable strength of character, which deserves appreciation rather than criticism, particularly for her authenticity.
The book chronicles Joan’s challenging yet affectionate upbringing during the war in Northern England. She later supported her industrious father in the fairground business and eventually found love in the early 1950s with a young actor named Douglas Malin, who later became known as Mark Eden.
Following a failed marriage and a move to London, Joan's narrative swiftly transitions to the early 1960s, when a serendipitous visit to the Establishment Club introduces her to actor John Le Mesurier, whose marriage to actress Hattie Jacques was deteriorating.
Lady Don’t Fall Backwards details the evolution of Joan and John’s friendship into a romantic relationship, which, after their marriage, leads Joan to engage in an extramarital affair with John’s close friend, the comedy actor Tony Hancock. Joan's affair with Hancock has been the subject of extensive media coverage over the past forty years; however, the complete account is presented in this book. Despite appearing to be in love with her charming husband, Joan feels compelled to care for the troubled Hancock, who is descending into a prolonged depression exacerbated by alcohol dependence following a decline in his popularity and two failed marriages.
The book meticulously documents Joan's relationship with Hancock, showcasing her unwavering love and dedication amidst his erratic behavior, which jeopardizes her comfortable life with the loyal and genuine John Le Mesurier. Ultimately, the narrative reveals not only the challenges of her relationship with Hancock but also the emotional toll of coping with her grief after his suicide in June 1968.
One of the most captivating aspects of this book is Joan's blend of sophisticated prose and occasional raw descriptions, which I found both charming and sincere. Although admirers of John Le Mesurier and Tony Hancock may have differing opinions regarding Joan's actions in this narrative, it is undeniable that John exemplifies unwavering commitment and forgiveness as the plot progresses—traits that many of us are often quick to dismiss in our own lives.
I appreciated this memoir and am grateful that Joan chose to share it, as it offers a candid perspective on her relationships with two comedic icons and her own admirable strength of character, which deserves appreciation rather than criticism, particularly for her authenticity.
Displaying 1 of 1 review