Dracula: Prince of Darkness

Tags

1960's, Andrew Keir, Barbara Shelley, Charles Tingwell, Christopher Lee, Dracula: Prince of Darkness, Francis Matthews, Horror, Philip Latham, Supernatural Horror, Suzan Farmer, Terence Fisher

I was invited to right about the fantastic Christopher Lee by Barry and Gill and I was very happy to do so. 

A Hammer Horror with the iconic Christopher Lee back as the eponymous being, Dracula: Prince of Darkness is atmospheric and has a lot going for it.

A group of proper English tourists; brothers Charles(Francis Matthews) and Alan(Charles Tingwell), plus their wives Helen( Barbara Shelley) and Diana( Suzan Farmer) are visiting near the Carpathian Mountains. They are warned about not going to a certain region by Father Sandor( Andrew Keir) . Sandor isn’t your average man of the cloth as he speaks his mind and seems always on the lookout for danger in a similar way to a hunter. The group don’t pay much attention and attempt to reach a castle that doesn’t show up on a map. The worried Helen doesn’t think this is a good idea, but she is overruled by her husband and the brash Charles . After a carriage appears from nowhere following , they decide to get into it. It suddenly springs to life and transports them to the infamous castle. Not wanting to be outside as darkness approaches, much to the annoyance of Helen, the group enters the castle . There they find the castle in reasonably good condition, considering that it’s been abandoned for years . We learn that the reason for this is that it’s been taken care of by the creepy servant Klove( Philip Latham) . His dead employer told him to always make the castle welcome to those travelling through. But Klove has a more menacing plan for the guests. That night he murders Alan and strings him up over a tomb. This fresh blood resurrects the evil and powerful vampire Dracula(Christopher Lee) who then goes on to turn the strait laced Helen into a sensual creature of the night like himself. Realising the danger they are in, Charles and Diana  run from the castle before finding Father Sandor in his church. The couple now team up Sandor with in a battle against the nocturnal bloodsucker.

Terence Fisher, who was always one of the most reliable directors for Hammer Horror, is in his element here. His confident and nicely unobtrusive direction helps flow smoothly and with a genuine feeling of dark tension. The less is more approach works well in many areas here, leaving much to the imagination while not shoving it in your face.The eeriness builds before being fully unleashed in the last half when the stakes are raised and a desperate plan to slay Dracula comes into play. From the get go, you just know it’s going to be very creepy. It doesn’t just start with everything being rosy and ideal for everyone; we hear of darkness from right at the start of the film as well as a prologue of Dracula’s history(which is a flashback from the very first outing for Lee as the bloodsucking count.)That is the through line of and moves the plot along nicely with an exquisite slow burn before unleashing. Also of note is how some of the characters don’t fall victim to some of the dumb horror cliches out there. For example, Charles and Diana once sensing that something is wrong flee the castle instead of sitting and waiting to be picked off, along with other smart traits. Yes they do eventually have to go back to the castle for the climactic battle(which makes sense in the big scheme of things), it’s just nice to see characters who aren’t complete morons and at least boast some substance . Its a little thing but one I do appreciate it .Prince of Darkness has enough of a difference in terms of folklore to single it out among vampire movies, particularly the eventual way that the remaining characters try to use in order to kill Dracula. Dracula: Prince of Darkness also feels even by today’s standards rather erotic in a Gothic way. Dracula’s ability to hold people in thrall is a great example of this as is Helen’s flip from staid worrier to untamed vixen. Granted age has diminished some effects and it can come off dated in stages, the creeping aura is still there in a way only Hammer can provide . On the visual front, Prince of Darkness is gloriously done with a lot of the colour red mixing with a dark and unusual feeling of impending dread. Hammer Horror always has that special something in terms of how they look and is no exception. A swelling and rather grand score suits the movie as the action and atmosphere is cranked up to high levels as darkness falls.

Christopher Lee is what really makes this movie, returning after a number years following his first outing, to play the role of the indelible villain that is Dracula. Despite not speaking a single word, his imposing presence and intense, bulging eyes are all that’s needed to give us the audience and the potential victims the creeps. Lee plays the wicked but seductive Dracula with a sense of movement and hypnotising skill; brilliantly luring in the unsuspecting prey he has his designs on. He’s obviously enjoying himself and the menace he provides as the bloodsucker is second to none. Simply stated, the film wouldn’t be the same without the iconic Lee playing it. Francis Matthews is appropriately down to Earth and charming as the free living young Charles, who has to rise up and face Dracula. Barbara Shelley is wonderful playing essentially two different parts: sheltered, fearful killjoy Helen and her enticing, seductive vampiric form that is chilling and daring . Both sides are finely judged by her and stand out for how different they are and it’s down to the excellent of Shelley . Bombastic energy and portents of doom come courtesy of Andrew Keir as the unorthodox but forceful Father who isn’t going down without a fight.  A convincingly  insidious sliminess provided by Philip Latham as the ever loyal servant intent on raising his evil master from the great beyond is another effective tool used to elicit genuine uneasiness and terror to sublime effect. Suzan Farmer and Charles Tingwell have smaller roles but are nonetheless very good as the rest of the quartet happening upon terror. The cast is pretty stellar, but it’s the presence of Christopher Lee that truly lingers in the mind thanks to the talents of the legendary star.

A stylish and atmospheric horror from the iconic Hammer Homer, Dracula: Prince of Darkness is an impressively movie with an eerie and memorable Christopher Lee at the centre of it all.

The Devil Rides Out

Tags

1960's, Charles Gray, Christopher Lee, Horror, Leon Greene, Niké Arrighi, Patrick Mower, Paul Eddington, Sarah Lawson, Supernatural Horror, Terence Fisher, The Devil Rides Out

A thrilling and very creepy film from Hammer Horror, The Devil Rides Out stands as one of their finest films. It’s the whole atmosphere and compelling story, aided by a pacy running time, The Devil Rides Out is a must see. 

It’s the 1920’s in the English countryside and the cultured, well-respected Duc De Richleau(Christopher Lee) has become concerned about a friend. This friend is the young and often irresponsible Simon Aron(Patrick Mower) ; De Richleau knew his father and since that friend’s death he has looked out for Simon along with fellow chum Red Van Ryn(Leon Greene). The concern regarding comes from Simon seemingly cutting contact off with those closest and disappearing for long periods of time. Aided by loyal best friend Rex, the two men soon unearth that the reckless has fallen in with a secretive society of devil worshippers who wish to baptise him once more as a follower of darkness. The sect is headed by the powerful and dangerously charismatic Mocata (Charles Gray), who is known to be ruthless and extremely gifted in getting people . After knocking Simon out and whisking him away, De Richleau and Rex must contend with the knowledge that they are marked for something dark by the evil Mocata  . They also help rescue a female follower Tanith( Niké Arrighi )who hasn’t been initiated into the bit is struggling with the pull of it. He shelters both Simon and Tanith with his niece Marie( Sarah Lawson) and her husband Richard(Paul Eddington) , who live in a large house in the country. Protecting the potential victims isn’t going to be a cakewalk for as the wicked Mocata can use mind control and hypnosis to make unsuspecting victims do his bidding.  Now De Richleau must fight to save Simon and from the clutches of Mocata , who has set his sights on the rest of De Richleau’s family in a cruel blow that will require a lot of faith to overcome. Let battle between good and evil commence in entertainingly spooky fashion. 

Terence Fisher adopts a restrained, low key approach here that allows for the story to become front and centre, while moving it along at an acceptable pace of mounting chills and unnerving mystery. That doesn’t mean that is without set pieces, it simply means that they are done in a way that isn’t too razzmatazz and more slithering menace. The scene of Mocata intensely putting Marie under hypnosis is gloriously creepy and stands out as a piece of dark filmmaking as the psychology of the situation and overall ambience is cranked up higher in a battle of wills. The other big standout is the protection circle scene where the group have to face off against the dark forces that don’t let up. It knows how to up the ante excellently in the best possible way. Hammer was known for its villains in the guise of Dracula and Frankenstein’s Monster, but the fact that the main enemy in The Devil Rides Out is actually people who believe in a dark purpose makes a very unnerving prospect. Supernatural events occur throughout in the form of dark sorcery and satanism but the battle between good and evil feels more rooted in some semblance of reality while still retaining the magic of Hammer that you’d expect. The lack of bloodshed is also a stroke of genius; it allows us to focus more on the story than just parts that are possibly grisly. As mentioned earlier, the approach of a bit more subtlety adds immensely to the atmosphere of the piece as it unfolds deliberately but in a manner that is very fascinating. The film also has a dazzling colour scheme within in that highlights the richness of red and purple, plus there’s some great camerawork that employs intense close ups of eyes to startling by effect. A few special effects don’t measure up to modern eyes, but the main focus of the spooky story is the true crux of things that outweighs niggle. The score by James Bernard( himself a Hammer Horror regular) is one of great tension and action, which is exactly what you’d want in a film like this. 

Christopher Lee heads a very good cast in a role that is a change of pace for him; the hero. But Lee quickly displays how adept he is at surprising us with a passionate turn as a knowledgable man fighting to save a friend with a sense of great dignity to his core. Lee acquits himself well with force and gravity it must be said and provides the centre of this film. Charles Gray is his counterpart and he relishes being very evil throughout. For Gray, it’s all in the eyes as he uses them to such creepy effect as the character he plays manipulates those around him unsettling skill. Even before we’ve seen Mocata, we get an impression of the man and Charles Gray plays to that spectacularly. loyal friend who is supremely tested by the ordeal and along the way develops romantic feelings for the beautiful Tanith. And speaking of Tanith, she is played with the right amount of sex appeal by the enticing Niké Arrighi. There’s something a little otherworldly quality to her and it’s utilised nicely in The Devil Rides Out. Patrick Mower has the role of the reckless and foolhardy man caught in something he is starting to regret. The part isn’t the biggest stretch for the actor, but he puts in a very good performance nonetheless. Really standing out from the moment she’s introduced is the role of Marie, played by Sarah Lawson. She starts out as seemingly immensely vulnerable, but Lawson shows that the character is actually more switched on and important than people think. In fact, later becomes quite integral to the plot and a lot of this is down to Sarah Lawson. Paul Eddington rounds out the cast as the sceptic among everyone who soon comes to believe in the darkness about to surface.

A creepy and very enthralling Hammer Horror, The Devil Rides Out stands at least in my book as one of their finest. This owes much to a great cast, somewhat low key approach and feeling of elevating tension.

The Umbrellas of Cherbourg

Tags

1960's, Anne Vernon, Catherine Deneuve, Drama, Foreign Language Film, Jacques Demy, Marc Michel, Musical, Nino Castelnuovo, Romance, The Umbrellas of Cherbourg

Director

Jacques Demy

Starring

• Catherine Deneuve as Geneviève Emery
• Nino Castelnuovo as Guy Foucher
• Anne Vernon as Madame Emery
• Marc Michel as Roland Cassard

A colourful but also melancholy musical of love and circumstances changing it, The Umbrellas of Cherbourg is if nothing else an experience from beginning to end. This is largely down to the tribute to old musicals and the undercutting of it with an aching sadness not often seen in films of that nature.

In the French town of Cherbourg, 1957, where it seems to rain almost constantly, a passionate love is at play between 17-year-old Geneviève Emery and mechanic Guy Foucher. Geneviève works in her mother’s umbrella shop that is about to go into financial dire straits. The love shared between Geneviève and Guy is intense and idealistic with them hardly going a minute without thinking of the other. But, the mother of Geneviève disapproves of the relationship and wants her daughter to marry for security. Guy and Geneviève plan to marry and have a daughter, but fate has different plans. Around this time, Guy is drafted to serve in the Algerian War, meaning that he will be separated from his beloved for a long time. After a farewell of spending the night together and saying goodbye at the train station, Geneviève learns she is pregnant and is left in a predicament. Her mother has the idea to marry diamond merchant Roland Cassard, who is entranced by Geneviève. The marriage is to be one of convenience and after hearing only once from Guy, Geneviève makes her decision. Her decision in the end has far-reaching consequences and a different outcome than expected for her and Guy.

Jacques Demy was clearly a man with a vision to use certain tropes from classic Hollywood and mould them into something different and beguiling for us all. His eye for colours and unorthodox approach present his vision to us in a glorious way. His prowess crafts a story that’s enchanting as it is tragic and totally spellbinding. Moments really stick with you from this film. The collection of colourful umbrellas that cover the titles, the love shared between the lovers at the heart of things and a really tear inducing farewell at the train station. As the lovers are parted and the camera pulls away from their embrace, leaving Geneviève alone, the music swells to heavenly heights and shows the power of cinema over emotions .While a musical, The Umbrellas of Cherbourg is anything but traditional. For starters, every word is sung, no matter if it’s just something mundane. This brings with it a level of fantasy, that is counteracted by the seriousness of subject matter and the ultimate tragedy of it all. We really feel every word sung because of its intensity and sincerity on show. The colour design that really pops with candy and pastel shades in every lovingly rendered frame also acts as a juxtaposition to the sadness of the central love story and the way life doesn’t always work out for us. The main story is quite simple when you look at it, but it’s the telling of it that truly makes it the classic it is revered as. It’s a boy meets girl situation told with sophistication and something that alternates between nostalgic romance and heartfelt loss. It may look like the kind of Technicolor extravaganza that MGM where so good at making back in the day, but under the surface is a real feeling of something bittersweet. This adds to the beauty of the film as it isn’t part and parcel and here’s your happy ending, it goes down another path that I respect. Cherbourg is not afraid to defy convention in its own way. Now no mention of this film would be complete without mentioning the ever-present score from Michel Legrand. As every line of dialogue is sung, a nice rhythm is established in proceedings. The most haunting refrain that translates into English as ‘I Will Wait For You’ is the music you’ll remember the most for its romanticism and ambience. Believe me, it will take a while to shake.

This is the film that introduced the world to Catherine Deneuve and what an introduction. She gives a gentle, charming and melancholy performance that really touches you. It’s all in her angelic face and soulful eyes as she goes through the pain of love and circumstance. Nino Castelnuovo is equally as good, finding hopes and dreams in Guy’s face and his outlook, which eventually gets changed over the years. The two really sell the romance and idealism of the couple, which says a lot considering that they spend large stretches of the film apart. Their first interactions are gorgeously played, while there is a more serious tone when they meet years later. It’s the kind of chemistry many movies dream of having between a romantic pair. Anne Vernon and Marc Michel round out the cast, but it’s the romantic two at heart of the movie that you’ll remember.

An unusual but wholly engaging and moving undertaking by the talented Jacques Demy and his visual(not to mention musical team), The Umbrellas of Cherbourg is classic movie watching for all.

Doctor Zhivago

Tags

1960's, Alec Guinness, David Lean, Doctor Zhivago, Drama, Epic, Geraldine Chaplin, Julie Christie, Omar Sharif, Rod Steiger, Romance, Tom Courtenay

The always sensational, lovely and talented Maddy is doing a blogathon that pays tribute to the great mastery of David Lean. I decided to review Doctor Zhivago.

Starring

• Omar Sharif as Yuri Zhivago
• Julie Christie as Lara Antipova
• Geraldine Chaplin as Tonya Gromeko
• Tom Courtenay as Pasha Antipov
• Rod Steiger as Victor Komarovsky
• Alec Guinness as Yevgraf Zhivago

A sweeping epic of romance set during the Russian Revolution and War, Doctor Zhivago is a classic of film making from the imagery to the acting. It’s an epic in nearly every sense of the word.

The movie begins with General Yevgraf Zhivago searching for what would be his niece. He finds a girl who he believes to be the one and narrates the story of his half-brother and lover. The story flashes back to Yuri losing his mother. He is taken in by the Gromeko family and moves to Moscow, where he is raised along with their daughter Tonya. He grows up to be a doctor and in his spare time, he writes poetry that reveals his romantic outlook on life. Meanwhile and nearby, Lara is a beautiful young woman who is in a relationship with passionate revolutionary Pasha, but is seduced by the much older and nastier Victor Komarovsky. Being naive and unsure of her feelings, she is used by him as he does with nearly everyone else. Yuri and Lara briefly meet when she shoots Komarovsky for his brutal treatment of her. Though it is brief, Zhivago is taken with the beautiful Lara. When World War I breaks out, Zhivago is drafted into service for his medical knowledge and Lara volunteers as a nurse. This is where their romance begins, though it is interrupted frequently by the upcoming Revolution and the chaos of events. Yuri marries Tonya but he still holds a flame for Lara, though he doesn’t act in his romantic feelings for her. Over the course of years, their love deepens as Zhivago flees from the rise of Communism  and they continue to meet but be separated. Though they pursue romance, fate and time has other ideas for the pair that aren’t going to run at all smoothly.

David Lean, whose movies are so full of majesty, is on dazzling form here. He spins the story of the star-crossed lovers in a changing world and though the film is epic and grand, manages to convey the intimacy of the love story among all the chaos. He’s a true artist of the form of movie making and his fingerprints which are extremely stylish and sensitive make Doctor Zhivago a treat. His immense eye for detail is on full show and the sheer scope of images that haunt the mind are too many to list. Aiding him is Freddie Young’s atmospheric and sublime cinematography and the iconic Maurice Jarre score, which features the lilting ‘Lara’s Theme’. Special mention must go to production designer for his sets which are striking in every way . With Lean at the helm with ever meticulous style, all these elements make Doctor Zhivago a visual masterpiece. Memorable scenes abound like the dragoon attack on peaceful protesters, a perilous train journey and Lara and Yuri’s getaway in an ice-covered dacha. Many have accused this movie of oversimplifying events during the Revolution and to some extent, it does do that. But it’s not to any detriment of the movie and as so much happened in the Revolution and War, it would be impossible to cover everything. Instead, we are at least given an understanding of a country changing rapidly and the impact it has on lives. Robert Bolt’s screenplay gets to the centre of upheaval and makes it accessible for the audience to follow in the films long running time. And what events they are as the Revolution and World War I alter the world irreversibly and the romance at the heart is tested at every turn. It’s not aiming to be a factual lesson, but it still has enough clout at capture the ups and downs of life at the time of World War I and the Russian Revolution. The starkness of the times is deeply felt as the world undergoes significant change. And it brings with it great emotion, especially in the thwarted and doomed romance of Zhivago and Lara. If you don’t feel at least moved by the movie, you must have a heart of ice.

Omar Sharif quietly conveys the longings and sensitive nature of the title character. Some may say he seems like a bystander in his own story, but Zhivago as played by Sharif is very much alive, especially when in the company of his beloved Lara. It’s all in his eyes and how they react to the world around him. The lovely Julie Christie supplies the inspiration and romance of the film with her turn as Lara. With her face(which my Grandfather said was made for cinema), you can witness the growth of a woman from vulnerable girl to passionate survivor over the course of the film. And she looks so beautiful in this movie; those blue eyes and prominent cheekbones complimenting her serene and soulful delivery of muse to. Understated passion is her biggest triumph that she contributes to events. Plus, her chemistry with Sharif is palpable and extremely convincing as the love story plays our against fate and time. Geraldine Chaplin has a radiant and almost motherly quality that she brings to the screen, while the excellent Tom Courtenay captures the anguish and loss of morality of a revolutionary forever altered by the brutality he encounters. Rod Steiger is a huge standout as the loathsome but not altogether evil Komarovsky. He’s a slime ball who sides with anyone he can in order to make his way, but Steiger discovers a certain level of humanity beneath the leering and vindictive face of the man. And rounding out the main players is the ever reliable Alec Guinness, who functions as narrator.

Passionate, full-blooded and breathtakingly beautiful, Doctor Zhivago has David Lean displaying all his talents and sense of epic vision.

Carry On Spying

Tags

1960's, Barbara Windsor, Bernard Cribbins, Carry On Movies, Carry On Spying, Charles Hawtrey, Comedy, Dilys Laye, Eric Barker, Gerald Thomas, Jim Dale, Kenneth Williams

Film Title

Carry On Spying

Director

Gerald Thomas

Starring

• Kenneth Williams as Desmond Simpkins
• Barbara Windsor as Daphne Honeybutt
• Bernard Cribbins as Harold Crump
• Charles Hawtrey as Charlie Bind
• Jim Dale as Carstairs
• Eric Barker as The Chief
• Dilys Laye as Lila

A frequently hilarious send up of the Bond movies and Film Noir in parts, Carry On Spying is an enjoyable and fun ninth entry into the long-running movies that is also the last to be filmed in black and white. Be prepared for a riot of laughs here.

A top-secret chemical formula is stolen by an agent who plans to deliver it to an evil organisation known as STENCH. The British Secret Service are panicking at the impending doom that could grow if STENCH gets their hands on the formula. Due to budget cuts and lack of resources, the Chief has to rely on trainee agents to take part in the mission. They are headed by the snide and deluded Desmond Simpkins, and the rest consist of goofy Harold Crump, chirpy Daphne Honeybutt and clumsy Charlie Bind. They are hardly the most effective crew to retrieve something so crucial, but are aided by the fact that Daphne has an excellent photographic memory. They journey to Vienna to meet with another agent( the very Bond like Carstairs) but attempts of a rendezvous are thwarted by the incompetence of the crew and a delirious series of mix-ups that also sends them to the Algiers in search for the formula is what hilariously follows. Who ever said the spying game was just for geniuses?

Gerald Thomas is once more director and clearly on the ball with this offering of jokes and funny goings on. His sense of fun and spoofing of the spy genre is put into great effect, making the laughs flow like a nice wine. Spying is the last black and white entry of the series and it signs off from monochrome with some style and rollicking action. The long shadows of Noir, in particular The Third Man, as well as the James Bond movies, are sent up in hilarious fashion as a whole host of comedic mix-ups have the agents in all sorts of bother with the enemy. While spoofing spy movies and thrillers, Carry On Spying does have the right atmosphere for a movie of that kind, though one with a hell of a lot more zany antics. The pace is lightning quick, benefiting the often outrageous and farcical ventures the bumbling group get themselves into. It’s this efficiency and riotous laughs that are the biggest points of praise in Carry On Spying. From outrageous opening to hilarious headquarters mayhem, there’s no shortage of giggles to be had with Carry On Spying. The innuendo is there and often extremely funny, but never overtly in your face. This makes it an innocent but no less fun outing for the usual assembled gang and more in keeping with some of the earlier entries in the series. Matching the slapstick and crazy occurrences is a very lively score that is the definition of cartoonish.

Kenneth Williams is the main man here, delivering a scene-stealing turn playing the overblown nitwit who thinks he’s a lot better than he actually is. Employing a snide voice and dispensing on liners like there’s no tomorrow, Williams is on fine form from start to finish. Barbara Windsor( who’d later become something of a staple in the Carry On’s) makes her debut here with a light, funny and very cheeky performance. Often later cast as a bimbo or lusted after girl, it’s quite nice to see Windsor as sexy but somewhat more innocent than her latter outings show. It’s a nice, fizzy and wide-eyed performance as the most reliable and resourceful member of a rag-tag team and one that cements Barbara Windsor as something special in these movies. Bernard Cribbins is back following the last movie Carry On Jack, and his goofiness and timing are on point as one part of the inept agents trying to retrieve the formula in rib-tickling style. The last part of the foursome is the delightfully impish Charles Hawtrey; who is customarily camp and energetic in his manner. The main quartet work very well together and the smashing fun depicted transfers directly to the audience through their enthusiasm and brightness. Many of Spying’s laugh come from Jim Dale as a man of disguise whose always thwarted and troubled by the bumbling agents. The fact that he’s on their side and they constantly hinder his chances of glory are the stuff that chuckles are made from. Eric Barker is on familiar but humorous form playing the figure of annoyed and aggravated authority that he knows so well. Dilys Laye( her last appearance being in Carry On Cruising) nicely returns with a devilishly seductive part of a go-between agent who constantly switches sides with aplomb.

Carry On Spying is damn good fun that moves along at a scintillating pace that never lets up, making the enjoyment that much more wonderful. Definitely a high point of the Carry On Movies at least in my book that is. You’ve got a good afternoon film to watch with Carry On Spying that’s for sure and certain.

 

Carry On Jack

Tags

1960's, Bernard Cribbins, Carry On Jack, Carry On Movies, Charles Hawtrey, Comedy, Donald Houston, Gerald Thomas, Jim Dale, Juliet Mills, Kenneth Williams, Percy Herbert

Film Title

Carry On Jack

Director

Gerald Thomas

Starring

• Bernard Cribbins as Midshipman Albert Poop-Decker
• Juliet Mills as Sally
• Kenneth Williams as Captain Fearless
• Charles Hawtrey as Walter Sweetly
• Donald Houston as First Officer Howett
• Percy Herbert as Mr Angel
• Jim Dale as Carrier

The first hysterical historical from the Carry On team, Jack doesn’t exactly rank as one of its finest hours. Most of the main team are missing and the humour could be better in many stretches, but it’s not a complete disaster. It’s just a good Carry On rather than a great one.

After Nelson dies, the English realise they need more men fighting. With the shortage, one Albert Poop-Decker , who has spent eight and a half years training becomes a midshipman. It is what follows to Albert that puts the main plot into gear. He is to report to the frigate Venus as soon as possible. Yet after going to a local tavern to have a good time, he is knocked out by the beautiful Sally. She commandeers his clothes and identity to get aboard the Venus. Around the same time, Albert and a cess pit cleaner named Walter are press ganged by members of the ship and taken aboard in an ironic situation for Albert. The boat is captained by Captain Fearless, who is quite the opposite of what his name says and is very inept at his job. Despite his protests, Albert is reduced to seaman and also discovers Sally on board disguised as him. Meanwhile, bullying First Officer Howett and bosun Mr Angel, have become fed up with the Captain’s lack of expertise and with Howett wanting to experience some action, they begin plotting something devious against him. Rather than a mutiny, they stage it so it looks as if the boat has been invaded, causing Albert, Captain Fearless, Sally and Walter to flee. The quartet drift in the sea before reaching what they think is France, they actually wash up in Spain. As the two sets of crew continue on, Albert finds himself in hot water constantly as much misunderstanding, subterfuge and bad luck mark his eventful days of outrageous adventure at sea.

Gerald Thomas is once more behind the camera and though it’s far from his best work, he manages to make Carry On Jack whiz along. He also gets the staple of aping a particular film style right with the spoofing of cinematic swashbucklers and Napoleonic War stories. The main problem with Carry On Jack is that it just doesn’t quite have that snap that really makes a Carry On. Now the Carry On Movies are hardly what you’d call respected or high art and neither do they try to be, but there are certain things that the movies must have for them to be successful. First and most important, the humour has to be the biggest concern for entertaining the audience. That’s not to say that Jack doesn’t have its comedic moments, it just could have been funnier than it actually was. With most of the humour here, it just doesn’t hit the target as well as other entries in the eventful series of the comedies. Far more laughs could have been generated if some thought has gone into things. The innuendo is strong and often good, but the regression in humour fails to back it up. The lack of the main Carry On team are missing, which in turn plays into some of the flaws because we miss certain members of the usual gang. But it’s not all bad in Carry On Jack, there are some moments of treasure to glean. When the humour does hit, it can be rather good and make the journey quite fun. Most of it centres on the misadventures of Albert and how unlucky he is. If the humour had been more consistent, this could have benefited Jack and made it a great movie. The film is shot in colour and despite the movies being notoriously low budget, everything looks full of life and bathed in brightness. With the last movie, Carry On Cabby, being in black and white( and effectively so), seeing some colour here is welcome. The musical score is agreeable and cleverly pokes fun at the grand ones used in big historical epics.

Though most of the usual gang aren’t present, the cast still delivers. Bernard Cribbins is a good lead, playing the unlucky Albert with great skill and humour. He employs this look of bewilderment at his unfortunate circumstances that really is quite amusing.  Juliet Mills, in her only Carry On outing, clearly has a lot of fun being sneaky, romantic and capable. Plus, she is so lovely in manner and appearance that it’s a shame she wasn’t in more Carry On Movies. Stalwarts Kenneth Williams and Charles Hawtrey are here doing what they do best, especially in the case of Williams and his gift for comedy. Donald Houston, with a menacing bull-dog like approach, plays the angry and plotting First Officer extremely well and is supported admirably by Percy Herbert. We get an amusing cameo from Jim Dale at the beginning of the picture and he gets the best line of the entire movie.

So while it does possess some charm and fun factor, Carry On Jack just winds up being a less than memorable entry into the canon due to the lack of cast regulars and a dive in the humour.

Carry On Cabby

Tags

1960's, Amanda Barrie, Bill Owen, Carry On Cabby, Carry On Movies, Charles Hawtrey, Comedy, Drama, Esma Cannon, Gerald Thomas, Hattie Jacques, Jim Dale, Kenneth Connor, Liz Fraser, Sid James

Film Title

Carry On Cabby

Director

Gerald Thomas

Starring

• Sid James as Charlie Hawkins
• Hattie Jacques as Peggy Hawkins
• Charles Hawtrey as Terry ‘Pintpot’ Tankard
• Kenneth Connor as Ted Watson
• Esma Cannon as Flo
• Liz Fraser as Sally
• Amanda Barrie as Anthea
• Bill Owen as Smiley
• Jim Dale as Expectant Father

The seventh Carry On movie, Cabby marks itself out as something a tad different from the norm, yet still boasting all the fun and good time a movie like this is expected too. Combining a keen eye for life at the time and the usual naughty comedy, Carry On Cabby is a resounding and pardon the pun, driving success.

Charlie Hawkins is a cheeky owner of a London taxi company named Speedee Cabs. Although a charmer to a fault, he’s also something of a workaholic to say the very least. His kind wife Peggy has grown tired of her husband’s devotion to his job, that has put a wedge between them that only she can see. She hopes that one day he will show her some appreciation, even though he doesn’t mean to be as inattentive as he seems. Also occupying the taxi company is loyal second in command Ted, whose often bickering with his tea lady girlfriend Sally and new driver nicknamed Pintpot who is prone to all sorts of mischief. Charlie’s dedication to his job finally comes to a head when he misses his wedding anniversary. This proves the last straw for Peggy, who decides that she must teach her husband a lesson. Using her initiative, she decides to secretly set up a rival taxi cab firm. It is named Glam Cabs, which she populates with gorgeous ladies to draw in customers. Staying in the background but pulling the strings, Peggy sets her girls out for a taste of success. The game is on as competition and all bets are off as Glam Cabs begins to succeed and Charlie’s company flounders, all with Peg motivating events to her advantage and giving Charlie a taste of his own medicine.

Gerald Thomas directs with his customary flair for comedy, while expanding on some drama in the piece. It’s clear that this a Carry On that wants to be more than funny and it actually accomplishes it winningly. After the colour of Carry On Cruising, the choice to go back to black and white pays dividends here. While primarily a comedy, Cabby has a certain serious undertone to it which surprises but finds something to say. With the film being made in the early 60’s and with more expression for women, Cabby reflects this change and how there was still a very big divide on what women were thought as and how they should be. Cabby gets in the laughs, but the social consciousness of it is what really makes it stand out in my eyes. Bucket loads of innuendo and sexiness abound in much the way you’d expect from a Carry On, but added in among Carry on Cabby’s virtues is a take on women striking out in a man’s world. Granted this includes using sex appeal and physical advantages, the feeling of fun mixed with the script that tackles what was going on at the time, any worries of overt sexism are cooled as its so well written. A serious topic is displayed with a tongue in cheek approach that still gets the message across; a success in my book. And talking of well written, Carry On Cabby is really the first of the film’s to really focus on character. You really get to know the people here, especially and the battle of the sexes their differences stoke. Combined with various incidents of great slapstick, this depth and character is what really counts in this hilarious outing for most of the team. Many moments stand out here, not least of all the ongoing battle between both companies and the various, sly methods employed to get business. Plus, we get the first appearance of Jim Dale, in a humorous interlude as an expectant father whose mind is rattled and whose constant journeys that he employs Charlie for land the latter in extremely hot water. The music is typically and amusingly jaunty, which is just what you want.

Sid James takes centre stage, perfecting his Cockney charmer and rogue routine that is great to watch. Acting alongside Hattie Jacques, James makes his character a blinded man who is good deep down. Hattie Jacques is beautifully moving and later on mischievous as the aggrieved wife, who takes control and fights fire with fire. Although she was remembered for playing the battle-axe or stern woman of authority, Jacques displays a real sensitivity and strength here that is a fine example of her talents. Charles Hawtrey returns to the fold with his fine brand of hapless pratfalls and slapstick, that is also complimented by the always excellent Kenneth Connor. Esma Cannon, in her last Carry On film, lights up the scream as the mischievous second in command for Glam Cabs. Liz Fraser once again provides the glamour and lusciousness of womanhood. Amanda Barrie has fun as the flirty Glam Cab girl who gets the most attention, while Bill Owen has his last Carry On outing in a funny interlude at the start of the film. The previously mentioned Jim Dale is a real hoot in his debut outing, which would lead to countless more.

A great entry into the ongoing franchise, Carry On Cabby mixes a certain social undercurrent to compliment its laughs and bring that something different to the table.

Crooks in Cloisters

Tags

1960's, Barbara Windsor, Bernard Cribbins, Comedy, Crooks in Cloisters, Davy Kaye, Francesca Annis, Gregoire Aslan, Melvyn Hayes, Ronald Fraser, Wilfred Brambell

Film Title

Crooks in Cloisters

Director

Jeremy Summers

Starring

• Ronald Fraser as Little Walt
• Barbara Windsor as Bikini
• Bernard Cribbins as Squirts
• Gregoire Aslan as Lorenzo
• Davy Kaye as Specs
• Melvyn Hayes as Willy
• Wilfred Brambell as Phineas
• Francesca Annis as June

An amiable and easy comedy about a band of crooks living in hiding by pretending to be monks, Crooks in Cloisters has a certain sunny feeling that’s difficulty to resist. Yes it may not be a vintage comedy and some of its dated, but the fact that it’s got something of an irony to it keeps you watching.

Amiable Little Walt, along with his crooked crew, consisting of his lady Bikini, flashy Squirts, Spanish and talkative Lorenzo , nervous Specs and poetry loving Willy, pull off a small train robbery in London. Yet rather than basking in the glory of their earnings, they have to keep a low profile. Fleeing London because of the increasing search for them being headed by a determined detective, Walt tells them all that he has somewhere ideal for them all to stay. It’s an island on the Cornish Coast.  What he hasn’t explained is that they will be hiding out in a monastery and disguised as monks! This is to everyone else’s dismay as they expected something else entirely. As they all get to grips with difficult life as pretend members of clergy, Walt continues to have a sideline in crime to make some living, but largely goes at it straight. They are helped by former sea dog and fisherman Phineas, who can be a crafty so and so at the best of times. Much hilarity ensues as they all try to make a go at things in the most unlikely of circumstances. The funny thing is the whole gang, initially after failed attempts, grow to like the monastic lifestyle and while crooks, they begin to rethink their ways and consider going straight for the very first time.

Jeremy Summers directs this easy film with no frills or pretence, just the desire to have a good time. Plus, the Cornish coast does look very idyllic in the grand scheme of things. The first half of Crooks in Cloisters is filled with amusing antics as the group struggles with living like genuine monks, as old habits die hard for them all. The attempts by Bikini to serve up edible food provide great laughs, while the forever gambling minded Squirts can’t resist placing a few bets on his winning greyhound. The script, which contains lashings of Cockney slang and references, also gets the film at a sprightly pace. Crooks in Cloisters goes a little overboard on occasion and while the Cockney humour is amusing to me, many who are unfamiliar with it may have difficulty seeing it as funny. But the good nature of proceedings is pretty winning and hard not to smile at watching a most unlikely group find unexpected joy in a lifestyle so different from their own. It’s not high art, but neither is it trying to be. The film is the equivalent to a movie you put on during a Sunday afternoon when there’s nothing else that takes your fancy. It’s harmless and simplistic, yet has a certain amusing and cosy charm going through its veins. Crooks in Cloisters is more a film to chuckle at than really laugh out loud at, not that that’s a bad thing mind you. It’s a familiar set up of. What largely benefits the film is a sprinkling of depth in the latter stages, added with a sort of bittersweet irony that befalls the gang. A comical score is employed and while a tad over the top, often suits the events on screen.

While the characters are largely archetypes, the actors clearly have fun with them. Ronald Fraser is very fun as the leader of the motley crew who likes to think he has a plan up his sleeve, but regularly falls short on delivering that. There’s a good heart in there, beneath all the bravado and schemes that Fraser plays to a fine degree. Barbara Windsor, possessor of helium voice and bouncing, bubbly attitude, has some hilarious moments as the moll of the bunch, specifically when she becomes interested in the culinary arts and takes issue with the reaction to her meals. The delightful Bernard Cribbins is a hoot as the most conspicuous member of the group, whose mind is usually on placing bets or some other wanted luxury that leads to trouble. Gregoire Aslan is the wittiest of the bunch, while Davy Kaye is the always timorous and most unable to hold his own water. The youthful looking Melvyn Hayes is a standout here. Playing the most eloquent and sensitive member of the motley crew, he has a real desire and passion to embrace the lifestyle with an almost childlike glee. You can’t help but smile when this guy comes on screen. Wilfred Brambell as the sneaky former seaman and Francesca Annis as his gorgeous granddaughter also make a mark in this comic movie.

So while it’s no comedy classic by any means, the gentleness, laughs and later a slightly bittersweet tone makes Crooks in Cloisters a smashing way to spend and hour and a half.

Carry On Cruising

Tags

1960's, Carry On Cruising, Carry On Movies, Comedy, Dilys Laye, Esma Cannon, Gerald Thomas, Jimmy Thompson, Kenneth Connor, Kenneth Williams, Lance Percival, Liz Fraser, Sid James

Film Title

Carry On Cruising

Director

Gerald Thomas

Starring

• Sid James as Captain Crowther
• Kenneth Williams as First Officer Leonard Majoribanks
• Kenneth Connor as Doctor Arthur Binn
• Lance Percival as Wilfred Haines
• Liz Fraser as Glad Trimble
• Dilys Laye as Flo Castle
• Esma Cannon as Bridget Madderley
• Jimmy Thompson as Sam Turner

The sixth movie in the long running comedy series, Carry On Cruising is the first on colour too. And it adds to the summery, breezy charms of this venture as a cruise ship is beset by calamities and romantic chases in typically amusing fashion.

On the cruise ship ‘The S.S. Happy Wanderer’ seasoned Captain Crowther is hoping for a smooth sea journey before he takes a prestigious job on another liner. His wish for seeming stability is thwarted when he sees that a number of his usual, loyal crew have been replaced either through illness or other things. What he gets is gossip First Officer Leonard, timid Doctor Arthur Binn, dopey, seasick chef Wilfred Haines and Barman Sam Turner , who can’t mix the Captain’s favourite cocktail. Everyone is dying to impress the Captain, in the hopes that they get to become staff on his other vocation. Trouble is as hard as they try, trouble seems to follow them everywhere they go. And the passengers on the cruise are also a spirited and eventful bunch too. Blonde beauties Glad and Flo are friends and sometimes rivals when it comes to being on the lookout for a man, though Glad can’t see that Doctor Binn is clearly infatuated with her. And Bridget Madderley is a sprightly, amazingly spirited old woman who can show the young ones just how to have some outrageous fun. With the crew and passengers all at sea quite literally and zany catastrophes afoot, it’s a high time at sea for Captain Crowther and his new crew.

After the less than stellar Carry On Regardless, Gerald Thomas finds himself on summery, jolly form with a delightful outcome for us the audience. I adore how the humour is both from the dialogue and of the physical variety; an array of great faces and movements are once again the real crux of the humour here. And add in the colour for good measure, and it all feels so frightfully romantic. There’s still room for innuendo and double entendres, but they are buttressed by the sweetly innocently amorous adventures of the ship that stay on the right side of cheeky. Importantly, Carry On Cruising would be the last of the series to feature a script by Norman Hudis, who had previously scribed every entry to this point. His nudge wink humour and feeling of group camaraderie in hilarious circumstances can not be underestimated in the history of the film’s and he goes out in fine style. The antics and comedic acts that go on in Cruising have laughs written all over them for your enjoyment. From an a,using ping-pong game to clueless whipping up a frankly revolting cake that he somehow thinks is world-class, there’s no shortage of hilarity to be had with Carry On Cruising. When you go into a Carry On, it’s the laughs you want. Yes there is a story, but it’s the efforts of the cast that you most treasure and the familiarity of it all makes it cosy. You can accuse the Carry On movies of repeating the same formula, but the fact that you know what you’ll get actually causes them to be very satisfying as a result. Not every joke hots the mark, but the antics and farce are in high supply and move Cruising on at a quick and pleasing pace. One notable absence in Cruising is that of Charles Hawtrey, who had a disagreement with production after wanting top billing. He is missed in this film, as are Joan Sims and Hattie Jacques. Yet despite their absences, Cruising doesn’t fall apart and continues on in greatly comic tradition with the rest of the regulars. A tropical and tongue in cheek score provides just the ticket for this entry.

Sid James heads proceedings in a somewhat serious role, that still gets humour under the belt. As the beleaguered, grizzled captain who is beset by problems, James clearly has fun playing the long frustrated man wanting to sign off in style, but seeing it is far from steady water ahead. The hilarious Kenneth Williams is here as agony aunt, who has a tendency to meddle and on more than one occasion, use his loquacious ways to endear himself and others to the Captain. With his usual array of catty one liners and hysterical facial expressions, its happy sailing for Williams. Also in great spirits and good form is Kenneth Connor, bringing out the shyness and permanently unlucky in love aspects of his part in the way he always does. Both Kenneth’s have some dazzling scenes together, obviously bouncing off the other with ease. Getting a lot of the laughs is Lance Percival; him of the dumbfounded yet childlike expression. He is a hoot as the chef on the cruise, at times completely oblivious to his shortcomings and causing a near riot in the process. Dilys Laye and Liz Fraser are on hand for the loveliness and flirtatious banter and looking ravishing while doing it too. Liz Fraser stands out the most out of the two women, being both cheeky and warm. And one can’t forget the immensely humorous showing from Esma Cannon, who gets up to all manner of mischief during her time at sea in an impish way. Given the least to do is Jimmy Thompson as the wet behind the ears barman, though he has his fair share of moments.

A generally sweet and somewhat more romantic Carry On, Cruising ticks the required boxes and joyously delivers the comedy goods with an abundance of energy.

Funny Girl

Tags

1960's, Barbra Streisand, Drama, Funny Girl, Kay Medford, Musical, Omar Sharif, Walter Pidgeon, William Wyler

Film Title

Funny Girl

Director

William Wyler

Starring

• Barbra Streisand as Fanny Brice
• Omar Sharif as Nick Arnstein
• Kay Medford as Rose Brice
• Walter Pidgeon as Florenz Ziegfeld

A colourful and well mounted movie version of the hit play, itself loosely based on the life of comedienne Fanny Brice, Funny Girl launched Barbra Streisand to movie stardom in her debut role( which garnered her an Oscar.) It’s a wonderful showcase for her and despite a lengthy running time, has more than enough virtues, wonderful music and moments of excellence to entrance.

It is the early part of the 20th Century and in New York, Fanny Brice is Jewish girl of modest means but massive dreams to be a star. No matter who tells her that her nose is too big or her legs are too skinny, Fanny strives to attain life on stage with all she’s got. Initially she starts as a bit player on the vaudeville stage, where her lack of classical beauty and awkward movements stand out a lot, but her determination perseveres. Thankfully, during one particular show, her coltish mien and clumsy mannerisms actually endear her to the audience, and she is a resounding hit. Around this time, she also encounters the dashing gambler and businessman Nick Arnstein, who will play an important role in her life in the years to come. With her act growing more popular, she is shocked and excited when she is hired by the legendary Impresario Florenz Ziegfeld. Fanny can’t believe her luck at being given the opportunity to become a big star as a Ziegfeld girl. Yet with her comedic timing and need to be funny, she at first rubs Ziegfeld up the wrong way. Later, she takes to stage and re-invents a number in her own cheeky way. Ziegfeld is perturbed but seeing how talented she is, encourages her comedienne act. The attention then turns back to Fanny’s relationship with Nick Arnstein, who sweeps her off her feet after years of brief encounters, resulting in marriage. Passionately in love with Nick, Fanny leaves the Follies to concentrate on her love. Yet the ensuing years reveal cracks in their union as Nick becomes resentful of his run of bad luck and Fanny’s continued success. Getting back into performing yet slowly growing unhappy with events, Fanny sees that life is not always as funny as her act.

William Wyler, a most experienced and versatile director, ably and admirably directs Funny Girl; finely judging the funny and light first half and the later bittersweet and dramatic stages. Wyler finds both happiness and sadness in the tale of Fanny Brice, while allowing the production and acting take the biggest chunk of the pie. Superb production design and simply gorgeous costumes are featured, with all the gloss of an Old Hollywood production. One can see that Funny Girl was definitely a prestige project, owing to its luscious photography, dazzling choreography and of course the music. Though the story can feel like standard rise to the top stuff that’s been done dozens of times, the fact that some of it has basis in reality adds and it carries an emotional undercurrent throughout. Now Funny Girl is by no means flawless, as the midsection drags and starts to strain in comparison with the rest of the story. A tad of editing and trimming may have benefited this half of the movie. Luckily, there are many elements that compensate for those niggles and keep you watching the largely engrossing movie. Chief among these are the delightful musical numbers, performed with gusto and depth largely by Barbra Streisand. She gets into the songs so much, fully living them to the highest degree. From an amusing roller skate sequence to the moving ‘People’ and defiantly show stopping ‘Don’t Rain On My Parade’, the musical sections are gorgeous and filled with vitality.

What really makes Funny Girl that something special is the outstanding Barbra Streisand. It’s hard to believe that this was her movie debut because of the confidence and ease with which she plays Fanny Brice. Sure she had played the part on stage and was a legit music star, but cinema is a totally different ball game that Streisand rose to, with Oscar-winning results. Embodying a cheeky, gauche charm that later morphs into sadness and disillusionment as her marriage falls apart and it becomes more difficult to put on a smiley face, Streisand’s commitment and exuberant talent announces itself loud and clear. Expertly funny, unwaveringly purposeful, heartbreaking and with a gorgeously soulful voice, Barbra Streisand earned her Oscar with this stunning performance. Omar Sharif has the required smoothness and ultimate desperation for Nick Arnstein, whose serious gambling problem causes his anger at the way things have turned out. Streisand and Sharif share a very good chemistry, going from charmed and loving to torn apart with conviction. Kay Medford is observant and wise as Fanny’s movie, while the role of Ziegfeld is acted with proper aristocratic ability by Walter Pidgeon. The supporting players do well in their parts, but the film belongs to Barbra Streisand.

A splendidly told musical full of glamour, heart and pangs of sadness, Funny Girl is a bravura film that announces the talents of a legend. It can get long-winded, but the overall dedication of those involved makes Funny Girl a sublime film to enjoy.