| Genre: | Comedy |
| Runtime: | 52 min. |
| Creator: | Victoria Wood |
| Director: | Baz Taylor |
| Starring: | Julie Walters Duncan Preston |
| Country: | United Kingdom |
| Network: | ITV |
| Num Series: | 1 |
| Num Episodes: | 1 |
| Producer: | Peter Eckersley |
Happy Since I Met You is a television play written by Victoria Wood, and broadcast on ITV on 9 August 1981.[1]
It stars Julie Walters and Duncan Preston and was directed by Baz Taylor as part of ITV's Screenplay series.[2] In Happy Since I Met You, Duncan Preston, who would later become one of her regular co-stars, worked with Victoria Wood for the first time.[1] It was the last full-length drama by Wood to be televised for some years, the next being Pat and Margaret (1994).[3] The film was notable for early TV appearances in minor roles by rising stars Maggie Steed, Tracey Ullman and George Costigan.[4] Although Wood does not appear in the film, she sings several of her compositions including the opening song and other songs performed over the on-screen action.
The story takes place over three consecutive Christmases. At the first, drama teacher Frances is defiantly single and enjoying living alone, but shortly after spending Christmas with her family, she meets an actor, Jim and they begin dating. By the next Christmas, they have moved in together and seem to be settling with their relationship, but Frances becomes frustrated with losing her independence and by the third Christmas, their cohabitation has driven her to anger and she leaves Jim after an explosive argument. Jim tracks her down at the train station as Frances attempts to get away to find solitude, but she realises she does love Jim and the film ends with them agreeing to try again.
Costume: Diane Holmes
Make-up: Sarah Horseman
Casting Director: Priscilla John
Film Editor: Bob Morton
Designer: Colin Rees
Producer: Peter Eckersley
Director: Baz Taylor
Music & Lyrics by Victoria Wood, arranged and conducted by Jim Parker.
Reviews were mixed, with Mary Kenny in the Daily Mail full of praise for dialogue which combined the idiomatic drollness of Les Dawson with the refinement of Jean Anouilh; whereas The Guardians Stanley Reynolds thought it "padded out with vulgar speeches...Lines delivered as if they were heroic truths, as if they were not only great gems of wit but also terribly socially significant."[5] More recently, Screenonline called the play "a slight but touching romance that was as much about the downs as the ups of young love."[6]