Terry-Thomas

The performances seldom worked, and his father became increasingly distant from his family. In 1921 Terry-Thomas began to nurture his distinctive, well-spoken voice, reasoning that "using good speech automatically suggested that you were well-educated and made people look up to you". He used the speech of the actor Owen Nares as a basis for his own delivery. Terry-Thomas became fascinated by the stage, and regularly attended the Golders Green Hippodrome to see the latest shows. It was there that he developed an interest in fashion, and adopted the debonair dress-sense of his hero Douglas Fairbanks. Terry-Thomas attended Fernbank School in Hendon Lane, Finchley, which was a welcome escape from the stresses of his parents' break-up. When he was 13, he transferred to Ardingly College, a public school in Sussex. He excelled in Latin and geography, and briefly took up drama. The latter subject later led to his expulsion from the school, after his frequent and inappropriate use of ad lib during lessons. He also took up a position in the school jazz band, first playing the ukulele and then percussion. He also often performed comedy dance routines to the band's music. • Illustration — Erich von Stroheim, on whom Terry-Thomas based his early look. Terry-Thomas enjoyed his time at Ardingly, and relished his association with upper middle class school friends. His academic abilities were modest, and he came to the notice of staff only through his frequent tomfoolery. Although he initially felt intimidated by his school surroundings, his confidence grew as he put on "a bold, undiluted and sustained show of chutzpah", according to his biographer, Graham McCann. On his return home to Finchley in 1927, his more mature manner impressed the family's housekeeper Kate Dixon, who seduced him at the family home. He stayed at Ardingly for one more term and returned home to London, but made no plans to further his education or start long-term work. Instead, he accepted a temporary position at Smithfield Market, where he earned 15 shillings a week as a junior transport clerk for the Union Cold Storage Company. He invented various characters, including Colonel Featherstonehaugh-Bumleigh and Cora Chessington-Crabbe, and frequently recited comic stories involving them to his colleagues. His characterisations soon came to the notice of the company's management who prompted him to enrol in the company's amateur drama club. He made his début with the drama company as Lord Trench in The Dover Road which was staged at the Fortune Theatre, London. The production was popular with audiences, and he subsequently became a regular performer in amateur productions. Terry-Thomas made his professional stage début on 11 April 1930 at a social evening organised by the Union of Electric Railwaymen's Dining Club in South Kensington. He was billed as Thos Stevens, but only appeared as a minor turn. His performance brought heckles from the drunken audience, but earned him a commission of 30 shillings. After this, he played a few minor roles in Gilbert and Sullivan productions by the Edgware Operatic Society at the Scala Theatre. In 1933, he left Smithfield Market to work briefly with a friend at an electrical shop before he became a travelling salesman of electrical equipment. He enjoyed the job and relished being able to dress up in elaborate clothing in order to make his pitch. In his spare time, he began playing the ukulele with a local jazz band called the Rhythm Maniacs. He took up dancing and formed a partnership with a sister of Jessie Matthews. The act starred in local exhibitions and at minor venues, and they earned well from it. News soon travelled of the couple's talent, and they were engaged as ballroom dancers at a hall in Cricklewood. He found the dance-style too restrictive and he left the act to try other aspects of entertainment.

• Illustration — Ardingly College, where Terry-Thomas engaged in amateur dramatics. Terry-Thomas was born Thomas Terry Hoar Stevens at 53 Lichfield Grove, Finchley, North London. He was the fourth of five children born to Ernest Frederick Stevens, managing director of a butcher's business at Smithfield Market and part-time amateur actor, and his wife Ellen Elizabeth Stevens (née Hoar). As a child, Terry-Thomas was often referred to as Tom, the diminutive used by his family. He led a generally happy childhood, but believed his parents secretly desired a daughter in his place. By the time he reached adolescence, his parents' marriage had failed and both had become alcoholics. In an attempt to bring them together, he often entertained them by performing impromptu slapstick routines, reciting jokes and singing and dancing around the family home. The performances seldom worked, and his father became increasingly distant from his family. In 1921 Terry-Thomas began to nurture his distinctive, well-spoken voice, reasoning that "using good speech automatically suggested that you were well-educated and made people look up to you". He used the speech of the actor Owen Nares as a basis for his own delivery. Terry-Thomas became fascinated by the stage, and regularly attended the Golders Green Hippodrome to see the latest shows. It was there that he developed an interest in fashion, and adopted the debonair dress-sense of his hero Douglas Fairbanks. Terry-Thomas attended Fernbank School in Hendon Lane, Finchley, which was a welcome escape from the stresses of his parents' break-up. When he was 13, he transferred to Ardingly College, a public school in Sussex. He excelled in Latin and geography, and briefly took up drama. The latter subject later led to his expulsion from the school, after his frequent and inappropriate use of ad lib during lessons. He also took up a position in the school jazz band, first playing the ukulele and then percussion. He also often performed comedy dance routines to the band's music. • Illustration — Erich von Stroheim, on whom Terry-Thomas based his early look. Terry-Thomas enjoyed his time at Ardingly, and relished his association with upper middle class school friends. His academic abilities were modest, and he came to the notice of staff only through his frequent tomfoolery. Although he initially felt intimidated by his school surroundings, his confidence grew as he put on "a bold, undiluted and sustained show of chutzpah", according to his biographer, Graham McCann. On his return home to Finchley in 1927, his more mature manner impressed the family's housekeeper Kate Dixon, who seduced him at the family home. He stayed at Ardingly for one more term and returned home to London, but made no plans to further his education or start long-term work. Instead, he accepted a temporary position at Smithfield Market, where he earned 15 shillings a week as a junior transport clerk for the Union Cold Storage Company. By his own admission, he never stopped "farting around" and often kept his colleagues entertained with impersonations of the Hunchback of Notre-Dame and Erich von Stroheim. He invented various characters, including Colonel Featherstonehaugh-Bumleigh and Cora Chessington-Crabbe, and frequently recited comic stories involving them to his colleagues. His characterisations soon came to the notice of the company's management who prompted him to enrol in the company's amateur drama club. He made his début with the drama company as Lord Trench in The Dover Road which was staged at the Fortune Theatre, London. The production was popular with audiences, and he subsequently became a regular performer in amateur productions. Terry-Thomas made his professional stage début on 11 April 1930 at a social evening organised by the Union of Electric Railwaymen's Dining Club in South Kensington. He was billed as Thos Stevens, but only appeared as a minor turn. His performance brought heckles from the drunken audience, but earned him a commission of 30 shillings. After this, he played a few minor roles in Gilbert and Sullivan productions by the Edgware Operatic Society at the Scala Theatre. In 1933, he left Smithfield Market to work briefly with a friend at an electrical shop before he became a travelling salesman of electrical equipment. He enjoyed the job and relished being able to dress up in elaborate clothing in order to make his pitch. In his spare time, he began playing the ukulele with a local jazz band called the Rhythm Maniacs. He took up dancing and formed a partnership with a sister of Jessie Matthews. The act starred in local exhibitions and at minor venues, and they earned well from it. News soon travelled of the couple's talent, and they were engaged as ballroom dancers at a hall in Cricklewood. He found the dance-style too restrictive and he left the act to try other aspects of entertainment.

• Illustration — "Everyone was talking about the gap between my teeth, my monocle, the fancy waistcoats I wore and the seven-inch cigarette holders I used." —Terry-Thomas (shown in 1964) on his unique look By 1933 Terry-Thomas had moved out of Finchley and into a friend's flat; the friend was a film extra who introduced him to the idea of working in the industry. Terry-Thomas made his uncredited film debut in the 1933 film, The Private Life of Henry VIII, which starred Charles Laughton in the title role. Between 1933 and 1941 Terry-Thomas appeared in 16 films, as an uncredited extra in all but one; he later said that "this work suited me down to the ground. It wasn't really like work to me. I got an enormous kick out of it". His first speaking role came in the 1935 Buddy Rogers comedy Once in a Million where he shouted "A thousand!" during an auction. During the 1936 musical comedy This'll Make You Whistle, starring Jack Buchanan, he permanently damaged his hearing as a result of jumping into a water tank. In between his film work, he developed his cabaret act and was employed as a dance teacher at the Aida Foster School of Dancing in Golders Green. During this period, he billed himself as Thomas (or Thos) Stevens, but rearranged the name to its backward spelling of Mot Snevets; the name did not last long and he changed it to Thomas Terry. He soon realised that people were mistaking him as a relative of Dame Ellen Terry, so inverted the name to Terry Thomas. He did not add the hyphen until 1947, and later explained that it was "not for snob reasons but to tie the two names together. They didn't mean much apart; together they made a trade name": the hyphen was also "to match the gap in his front teeth". By now, he was developing a unique sense of style both on and off stage. To avoid staining his fingers with smoke, he used a cigarette holder and later purchased "the most irresistible holder in Dunhill's. It was slightly outré because it was made of lacquered, black whangee... with a gold band twisting neatly round it". Adding to his look were a "monocle, raffish waistcoat and red carnation". He later wrote that "sartorially I was an eccentric. But I knew that underneath the clothes I was very much a conservative Englishman who would have loved to have been a genuine eccentric". In 1937 Terry-Thomas met the South African dancer and choreographer Ida Florence Patlansky, who went by the stage-name Pat Patlanski, while she was auditioning in London for a partner for her flamenco dancing act. Patlanski was keen to employ Terry-Thomas as a comedian rather than a dancer, and they established a cabaret double-act billed as "Terri and Patlanski", which was immediately popular with audiences. The couple became romantically involved and married on 3 February 1938 at Marylebone Register Office, afterwards moving to 29 Bronwen Court in St John's Wood. Despite the success of Terri and Patlanski, the act lasted only three months and they took on small engagements on the cabaret circuit. On 6 June 1938 Terry-Thomas made his first radio broadcast on the BBC London Regional dance programme Friends to Tea. He later recounted that "I didn't give a very good performance... I was a dismal failure". At the end of the summer of 1938 they were hired by the bandleader Don Rico, who incorporated them into his orchestra, with Patlanski playing the piano and Terry-Thomas acting as the compère.

The Entertainments National Service Association (ENSA) was formed in 1938 to provide entertainment to the British Armed Forces. Terry-Thomas and Patlanski signed up in 1939 and during the Phoney War were posted to France, where they appeared in a variety show. From early in their marriage, Patlanski had affairs, which prompted Terry-Thomas to reciprocate; he made sure he was sent on tour to France where a girlfriend was due to perform, although Patlanski accompanied him on the trip. During the tour, Terry-Thomas ensured Patlanski was sent back to Britain to enable him to continue his affair. On his return to Britain, he continued with his solo variety act, while also acting as the head of the cabaret section of ENSA at the Theatre Royal, Drury Lane, where he clashed regularly with his counterparts running the drama sections, Sir Seymour Hicks and Lilian Braithwaite. Terry-Thomas aimed to produce "good shows, sophisticated, impeccable and highly polished", which included the violinist Eugene Pini playing light classical music, and the Gainsborough Girls chorus line. In April 1942 Terry-Thomas received his call-up papers; he later wrote that "it would have seemed rather rude and ungrateful to refuse"; as a result, he left ENSA and reported to the Royal Corps of Signals training depot in Ossett, West Riding of Yorkshire. Within two weeks of his arrival he hired Ossett Town Hall and staged a concert, which included a freshly written sketch about his feet, which had been suffering in his army boots. After basic training he was promoted to the rank of corporal and applied for a commission. He was turned down because training had caused a duodenal ulcer, and his hearing was still problematic; as a result he was downgraded from A1 to B1 fitness at the start of 1943. Terry-Thomas continued to appear in cabaret and variety shows while in the army, including at the Astoria Cinema in York, where he was seen by George Black. Black established the entertainment troupe, Stars in Battledress, which was composed of entertainers who were serving in the forces, and he invited Terry-Thomas to join. In February 1943 he appeared in his first Stars in Battledress show at London's Olympia, where he introduced the sketch "Technical Hitch". This involved him portraying a harassed BBC announcer introducing records that are missing. In order to cover up for the absent records he would use his vocal range of four and a half octaves to mimic the singers; he included "impersonations of Britain's clipped crooner Noël Coward, the African-American bass-baritone Paul Robeson, the Peruvian songbird Yma Sumac, the Austrian tenor Richard Tauber and... the entire Luton Girls Choir". The show went on a national tour, with the stand-up comedian Charlie Chester as compere, during which Terry-Thomas refined and polished his act and finished as "one of the most prominent and influential members of Stars in Battledress". Terry-Thomas, along with his Stars in Battledress unit, travelled through Britain and Europe on a tour that lasted several months. After the tour, and with his demobilisation approaching, he took compassionate leave to have free time while still receiving army pay. During his absence he went on a tour of the UK organised by George Black, accompanied on the piano by a former colonel, Harry Sutcliffe. Terry-Thomas finished the war as a sergeant, and was finally demobbed on 1 April 1946.

The ENSA and Stars in Battledress tours of Britain and Europe had raised Terry-Thomas's profile and, by October 1946, he was appearing alongside Sid Field in Piccadilly Hayride at the Prince of Wales Theatre, London. The show was described by Graham McCann as "the West End's biggest money-spinner for years". Terry-Thomas compered the show as well as appearing in some of the sketches, including his own "Technical Hitch" routine. In 1959 he described the effect of Piccadilly Hayride on his career, saying "This show made me overnight. I'd arrived". Ivor Brown, writing in The Observer, remarked on the "glorious rag of BBC modes, moods and intonations by Mr. Terry Thomas, a grand discovery". Within three weeks of starting his run, Terry-Thomas was invited to appear at the Royal Command Performance on 4 November 1946 at the London Palladium. Piccadilly Hayride ran for 778 performances and ended on 17 January 1948. The show was seen by over a million people and earned £350,000 at the box office. In conjunction with Piccadilly Hayride, Terry-Thomas undertook a number of other additional one-off appearances in cabaret and private functions. He also appeared in editions of Variety Bandbox and Workers' Playtime on BBC Radio. His ever-evolving act consisted of imitations, including that of his friend, the musician Leslie Hutchinson (known as "Hutch"); sketches, including "Technical Hitch"; urbane monologues, and "languid shaggy dog stories". At the end of his run with Piccadilly Hayride, Terry-Thomas took a three-week break to recover from nervous exhaustion and a recurrence of his peptic ulcer. He went back to cabaret and acted as a compere at the London Palladium before making his radio breakthrough on 12 October 1948 with his own series on the BBC Home Service. Consisting of a "mixture of sketches, solo routines, musical interludes and a range of popular and topical star guests", To Town with Terry was broadcast weekly and ran for 24 episodes until 28 March 1949. He was disappointed with the series, saying "I was never totally satisfied with [it]... The perfectionist in me always made me aware of anything that was less than first class". He also appeared in his first post-war film, A Date with a Dream, in 1949, alongside his wife. On 26 October 1949 Terry-Thomas wrote and starred in a new series on the BBC Television Service, How Do You View?, noted for being the first comedy series on British television. The programme was based around an on-screen persona of Terry-Thomas as "a glamorous, mischievous and discreetly cash-strapped man-about-town", introducing a series of sketches in which he appeared alongside Peter Butterworth as his chauffeur; Janet Brown (Butterworth's real-life wife); Avril Angers; H.C. Walton as the family retainer, Moulting; and Diana Dors. The programme was broadcast live and often included Terry-Thomas walking through control rooms and corridors of the BBC's Lime Grove and Alexandra Palace studios. The author and historian Mark Lewisohn described the series as being "inventive... truly televisual and not just a radio programme in costume". The series ran until 21 December 1949; a second series followed between April and May 1950, with Sid Colin taking over the scripting duties and Terry-Thomas providing additional material. By the third series, which was broadcast between November 1950 and February 1951, the audience reached four million viewers. In total there were five series of How Do You View?; the final episode was broadcast on 11 June 1952. Writing about Terry-Thomas on television, Wilfred Greatorex observed that "he has... physical attributes that make him a gift to visual entertainment: a large, rather gaunt face, pre-fabricated for close-ups; the notorious space of one-third of an inch between his two most prominent top teeth; a mouth that is full of expression. Add to these pictoral advantages his eight-inch cigarette holder and Eddie Cantor eyes". • Illustration — Terry-Thomas in May 1951 In between filming How Do You View?, Terry-Thomas continued performing on radio as well as in cabaret, in Britain and increasingly the US. In October and November 1949 he appeared at the Palmer House Night Club, Chicago; in June 1951 he appeared at The Wedgwood Room, Waldorf Astoria Hotel, New York, and between 22 December 1951 and 29 February 1952 he returned to the London Palladium for 109 performances in Humpty Dumpty. In September 1952 he travelled to the Federation of Malaya to entertain British troops in a series of concert parties, before returning to the UK to appear in the Royal Variety Performance in November. He finished the year in South Africa, as Honourable Idle Jack in Dick Whittington, which finished in January 1953; he considered the pantomime to be "so tatty and unrehearsed it was pathetic". In June 1953 Terry-Thomas broadcast the pilot episode of the radio show, Top of the Town; the show was successful and the BBC commissioned a series of 16 episodes, which ran between November 1953 and February 1954. In between recording sessions, he appeared at the London Palladium in the revue Fun and the Fair, with George Formby and the Billy Cotton band, from October 1953. Fun and the Fair was unsuccessful at the box office and closed on 19 December 1953, after 138 performances. Terry-Thomas then reprised his role of Idle Jack for a run of performances in the Granada theatres of Sutton and Woolwich, and the Finsbury Park Empire, which ran to the end of January 1954. That year, he separated from Patlanski following an increase in domestic tension and the plethora of affairs in which they had both indulged. Patlanski moved out of the shared home, and the couple lived separate lives; the press did not report the separation until 1957. Terry-Thomas spent the 1954 summer season performing at the Winter Gardens Pavilion, Blackpool before starring in a second series of Top of the Town, which ran from October 1954 to February 1955. At the end of the series he appeared as Hubert Crone in the play Room for Two, which had a UK tour prior to a run at the Prince of Wales Theatre, London. The last stop on the UK tour was at the Brighton Hippodrome, where Terry-Thomas broke his arm on stage; he returned to the show five days later when the tour reached London. He later joked that "the audience roared with laughter when I fell and made horrible faces, so much so that I considered breaking the other arm for an encore". The London run was not a success and the show closed after 48 performances.

Terry-Thomas spent part of 1961 in America, filming the role of Professor Bruce Patterson in Bachelor Flat—his first Hollywood role—before flying to Gibraltar to film Operation Snatch, in which he teamed up with Lionel Jeffries. By the end of 1961 Terry-Thomas was appearing on radio, such as the December broadcast of The Bing Crosby Show and in guest spots on American television shows; he was frequently the subject of US newspaper interviews. In 1962 Bachelor Flat and Operation Snatch were both released, and were followed by two more films: a large-budget biopic from Metro-Goldwyn-Mayer called The Wonderful World of the Brothers Grimm, in which Terry-Thomas shared his scenes with the American comedian Buddy Hackett, and Kill or Cure, in which he appeared with Sykes, a friend since they worked together in Large as Life. On 1 February 1962 Terry-Thomas and Pat Patlanski divorced, having spent the previous eight years estranged. He had by then split from his mistress of the previous few years, Lorrae Desmond, who returned to Australia shortly afterwards and married a surgeon; Terry-Thomas resumed his bachelor lifestyle. The break-up with Desmond caused him great upset, and he sought solace with Belinda Cunningham, a 21-year-old whom he had met on holiday in Mallorca two years previously. The couple began a romance, and married in August 1963 at Halstead Registry Office near Colchester, Essex. The following year she gave birth to their first son—Timothy Hoar—at the Princess Beatrice Hospital in London. • Illustration — Publicity shot of Terry-Thomas for The Bing Crosby Show, 1961 In 1962 Terry-Thomas was offered the role of Lt-Colonel J. Algernon Hawthorne in It's a Mad, Mad, Mad, Mad World, and turned down the opportunity before leaving for the UK. By the time his flight arrived in London he had changed his mind, so he telephoned producer Stanley Kramer from the airport to signal his acceptance, and "popped back on a plane to be fitted for the part" the same day. He was not comfortable with many of the other actors on set, later commenting that "I was the only non-American, and I found it exhausting and embarrassing because they never relaxed. They were always 'on'." One of the American stars was Spencer Tracy, whom Terry-Thomas considered "an extra-special man"; Tracy and Buster Keaton—who also appeared in the film—were described by Terry-Thomas as "the only two people who ever produced in me this awe of greatness". Later in 1963 he picked up his second film nomination, the Golden Globe for Best Comedy Actor for his portrayal of Spender in The Mouse on the Moon. He also tried his hand at production, with three 15-minute travelogues: Terry-Thomas in Tuscany, Terry-Thomas in the South of France and Terry-Thomas in Northern Ireland. He did not enjoy the producer's role, complaining that "for some extraordinary reason that I could never understand, everybody was always out to do the producer of any film whoever he was. I had to be on the watch the whole time". He worked consistently during 1963, appearing in television programmes on both sides of the Atlantic; these included Terry-Thomas, a one-off variety show on BBC Television in July that included Donald Sutherland. In 1964 Terry-Thomas started filming the role of Charles Furbank in How to Murder Your Wife, a part which brought him £100,000, his largest fee to that point. He said it was his favourite to make, "because I felt that I did a very good job". He enjoyed working with Jack Lemmon, the film's star, partly because Lemmon would play jazz and sing while the scenes were being lit: the two became friends and Terry-Thomas was invited to Lemmon's wedding. Throughout the rest of the year Terry-Thomas continued to appear on US television, again in Burke's Law, but also on What's My Line? and An Hour with Robert Goulet, both on CBS; he also released another record, Terry-Thomas Discovers America, a collection of songs and sketches, described by Billboard as "a funny, funny comedy masterpiece". His earlier record, Strictly T-T, was also released in the US. Alongside How to Murder Your Wife, there were two further releases for Terry-Thomas in 1965: Strange Bedfellows, in which he played the part of a mortician, and Those Magnificent Men in their Flying Machines. In the latter, he played Sir Percy Ware-Armitage, a character the film historian Andrew Spicer calls "a cartoon version" of his usual persona in a "bloated mid-Atlantic comed[y]". In the film, Terry-Thomas appeared again with Sykes, an experience Sykes later described as magical. The roles of Ware-Armitage and his sidekick were written especially for Terry-Thomas and Sykes at the behest of the director Ken Annakin.

By the mid-1960s Terry-Thomas was tiring of the Hollywood lifestyle, and, during the latter half of the 1960s, he worked with European filmmakers, returning occasionally to the US when he was filming there. In one of his French-produced films, La Grande Vadrouille, he played Sir Reginald, a stranded Royal Air Force pilot travelling through occupied France with characters played by Bourvil and Louis de Funès. The film, released in 1966, held the record for highest box-office takings in France until 2004, and it remains "one of the most popular films with television audiences in France". Terry-Thomas undertook a number of roles with the Italian cinema industry. For one of the Italian-produced films, the 1967 farce Arabella, he played four parts and used "the help of wigs, moustaches and lashings of Max Factor" to help achieve the different characterisations, which were all with the Italian actress Virna Lisi. Although the European films allowed him to travel and gave him a constant source of income, he received bigger fees from his less-frequent engagements in US films, which he continued to appear in, joking that he "knew the fat cheques in the pipe-line were endless". One of the bigger fees came with Gene Kelly's 1967 film A Guide for the Married Man; he was disappointed by Kelly's direction, later saying "I found him a very prudish director, not as imaginative or experimental as I would have liked". Terry-Thomas had more time for the actress with whom he shared his short scene, Jayne Mansfield, commenting that "I found her rather intelligent to talk to and felt quite shattered when I read about the gruesome car accident that killed her". An actress he had difficulties in working with was Doris Day: in the 1968 film Where Were You When the Lights Went Out?, which was produced by her husband Martin Melcher. Day would instruct Terry-Thomas how he should act in a scene (he would "listen... politely, then do it my own way, as if the conversation had never taken place"). She would also launch into improvisations while filming; director Hy Averback would mimic a scissor action behind her back to signal to Terry-Thomas that the material would be duly cut from the final print. The result was a film that Geoff Mayer called "limp", and Christopher Young described as "such an uneven movie that misses so many opportunities for real comedy". • Illustration — Terry-Thomas and Doris Day in Where Were You When the Lights Went Out? (1968) In 1967 Terry-Thomas met his long-time friend Denholm Elliott in Bel Air and the pair talked about Elliott's new villa in Santa Eulària des Riu on the Spanish island of Ibiza. Terry-Thomas was intrigued by the possibility of a Mediterranean retreat and visited the island on the way to sing in the television special Monte Carlo: C'est La Rose (1968), a musical tour of Monte Carlo hosted by Princess Grace of Monaco. Although he initially struggled to find the right plot of ground for the right price, he eventually settled on an appropriate location; declaring he was "allergic to architects", he designed the house himself. His former wife Pat moved to the nearby island of Mallorca, and Terry-Thomas's relationship with her became warm and friendly; Patlanski also had a firm friendship with Terry-Thomas's wife. In between films Terry-Thomas appeared on television on both sides of the Atlantic. In the US in March–April 1967 he was in "The Five Daughters Affair", a two-part story in the TV series The Man from U.N.C.L.E., and on 22 May he appeared on The Red Skelton Hour. On British television, in an episode of the Comedy Playhouse called "The Old Campaigner", he played James Franklin-Jones, a salesman for a plastics company who was continually searching for love affairs while travelling on business. This character was "yet another variation on his rakish cad persona", according to Mark Lewisohn. The episode was well-received, and a six-part series was commissioned that ran over December 1968 and January 1969. Although the series performed well in the ratings, a second series was not commissioned. In between the pilot and the series of The Old Campaigner, in April 1968, Terry-Thomas appeared on the British ITV network in a one-off variety special, The Big Show, which combined musical numbers and his urbane monologues. Robert Ross commented that Terry-Thomas "seemed to delight in resurrecting his vintage sophisticated patter after years in movies... the top raconteur was back where he belonged". In 1969 he again teamed up with Eric Sykes and director Ken Annakin for a joint Italian, French and British production Monte Carlo or Bust!. The film was "the only copper-bottomed sequel to... Those Magnificent Men in their Flying Machines", according to Richard Ross. Terry-Thomas played Sir Cuthbert Ware-Armitage, the "thoroughly bad egg son of flying ace Sir Percy Ware-Armitage", his role in Those Magnificent Men. Terry-Thomas secured four other roles in minor films that year, including Arthur? Arthur! (which he joked had "never been shown anywhere—as far as I know!"), as well as on television in the UK, US and Australia. The 1970s began well for Terry-Thomas; television appearances in the UK and US were augmented by filming for The Abominable Dr. Phibes, which became what author Bruce Hallenbeck called a "camp classic", despite being described by Time Out critic David Pirie, as "the worst horror film made in England since 1945"; the film was released in 1971. On 1 August 1970 Terry-Thomas made his second appearance on Desert Island Discs; his luxury item was a case of brandy, chosen because it lasted longer than champagne.

• Illustration — Terry-Thomas (right) and Red Skelton in The Red Skelton Show (1968) While appearing in Don't Just Lie There, Say Something! at the Metro Theatre, Sydney in 1971, Terry-Thomas felt unwell and visited a doctor, who noticed his patient's left hand was shaking slightly. The doctor suggested he visit a specialist on his return to the UK, who diagnosed him with Parkinson's disease. Fearing the condition would affect offers of work, Terry-Thomas did not make the news public, but as the symptoms began to manifest themselves in tremors, a shuffling gait, stooped posture and affected speech, he made the news known—partly to stop rumours of on-set drunkenness. Terry-Thomas continued to work as much as possible, although—as the film historian Geoff Mayer pointed out—the situation "reduced his film career to supporting roles and cameos". The lucrative voice-over role of Sir Hiss in the 1973 Walt Disney film Robin Hood was one notable part, while others were less well-known, such as The Vault of Horror, a film described by Richard Ross as a "cornball terror", in which he starred with Curd Jürgens, Tom Baker and Denholm Elliott. He also continued to appear on television shows in both the US and UK, as well as advertisements, including appearing with June Whitfield for Birds Eye fish fingers, a series of vermouth advertisements filmed in Italy, and an award-winning series for Benson & Hedges cigarettes, with Eric Sykes. During the 1970s he starred in a series of low-budget British films, including two in 1975, Spanish Fly—called a "gruesome smutfest" by the writer Christopher Fowler—and The Bawdy Adventures of Tom Jones, described by the Film Review Digest as a "cheap, crude, sexed-up rehash" of the other film adaptations of Henry Fielding's source novel. In 1977 he starred in The Last Remake of Beau Geste and The Hound of the Baskervilles, the latter starring Peter Cook and Dudley Moore as Holmes and Watson; Terry-Thomas thought "it was the most outrageous film I ever appeared in... there was no magic... it was bad!" By then he had exhibited a decrease in bodily movement, a sign of how serious his condition had become. His distinctive voice had developed a softer tone and his posture was contorted. Between 1978 and 1980, he spent much time with medical consultants. Despite this he was offered a few engagements and was voted the most recognisable Englishman among Americans in a poll which also featured Laurence Olivier, Robert Morley and Wilfrid Hyde-White. As a result, he secured a lucrative advertising contract with the Ford Motor Company. Derek Jarman offered Terry-Thomas a role in his 1979 film The Tempest, but the actor was forced to pull out because of his deteriorating health. Terry-Thomas undertook his final film role in 1980 in Febbre a 40!, a German-Italian co-production that was "nondescript and barely screened", according to Robert Ross, and did not even have a theatrical release in its two domestic markets. He continued his involvement in the film industry, where he funded three films during the early 1980s (noted by Ross to be "destined from the outset for B-picture status or straight-to-video exposure"); he commented that "I have made a loss of one hundred per cent". In 1982, with his condition worsening, Terry-Thomas appeared in two episodes of the BBC series The Human Brain, which examined his condition; his frank interview brought much public awareness of the disease and raised £32,000 for the Parkinson's Disease Society. Privately, he was becoming more depressed; his London flat had been sold to provide badly needed funds, and his work offers were decreasing.

By 1983, with his medical bills at £40,000 a year and no longer able to work, Terry-Thomas's financial resources were dwindling. He and his wife sold their dream house on Ibiza and moved into the small cottage in Spain once owned by his former wife Pat Patlanski, which she left to him in her will on her death in June that year. Shortly afterwards he worked with ghostwriter Terry Daum on an autobiography, Terry-Thomas Tells Tales. Although the first draft was completed by late summer 1984, Terry-Thomas refused to release the manuscript and continued making alterations, but never completed his copyediting: the book was finally published after his death. By 1984 Terry-Thomas was increasingly depressed by his condition and when he was interviewed that year, he admitted that "one doctor said I've got about four more years to live. God forbid! I shall probably blow my brains out first". In 1987 the couple could no longer afford to live in Spain, so moved back to London. They lived in a series of rented properties before ending up in a three-room, unfurnished charity flat, where they lived with financial assistance from the Actors' Benevolent Fund. Richard Briers was one of his first visitors at the flat, and was shocked by the change he saw: "Sitting there, motionless, he was just a mere shadow. A crippled, crushed, shadow. It was really bloody awful." On 9 April 1989 the actor Jack Douglas and Richard Hope-Hawkins organised a benefit concert for Terry-Thomas, after discovering he was living in virtual obscurity, poverty and ill health. The gala, held at the Theatre Royal, Drury Lane, ran for five hours, and featured 120 artists with Phil Collins topping the bill and Michael Caine as the gala chairman. The show raised over £75,000 for Terry-Thomas and Parkinson's UK. The funds from the charity concert allowed Terry-Thomas to move out of his charity flat and into Busbridge Hall nursing home in Godalming, Surrey. He died there on 8 January 1990, at the age of 78. The funeral service was held at St. John the Baptist Church, Busbridge, where the theme from Those Magnificent Men in their Flying Machines was played; he was cremated at Guildford Crematorium.