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.

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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.

Carry On Regardless

Tags

1960's, Bill Owen, Carry On Movies, Carry On Regardless, Charles Hawtrey, Comedy, Esma Cannon, Gerald Thomas, Hattie Jacques, Joan Hickson, Joan Sims, Kenneth Connor, Kenneth Williams, Liz Fraser, Sid James, Stanley Unwin, Terence Longdon

Film Title

Carry On Regardless

Director

Gerald Thomas

Starring

• Sid James as Bert Handy
• Kenneth Connor as Sam Twist
• Charles Hawtrey as Gabriel Dimple
• Joan Sims as Lily Duveen
• Kenneth Williams as Francis Courtenay
• Bill Owen as Mike Weston
• Liz Fraser as Delia King
• Terence Longdon as Montgomery Infield-Hopping
• Esma Cannon as Miss Cooling
• Stanley Unwin as Landlord
• Joan Hickson as Matron
• Hattie Jacques as Nurse

The fifth entry in the franchise, Carry On Regardless for me hits a stumbling block. While it’s still funny, the focus on too many individual incidents gets laborious and it feels like there is too much going on and not all of it good. Suffice to say, Carry On Regardless is my least favourite entry so far in the long running series.

A group of disgruntled individuals meet in the Labour Exchange, moaning about the severe lack of jobs. They are perpetually unlucky Sam Twist, clumsy and harmless Gabriel Dimple, amiable Lily Duveen, snotty language expert Francis Courtenay, gruff chap Mike Weston, gorgeous blonde Delia King and well-groomed Montgomery Infield-Hopping. On the very same day, a discovery in the paper for an agency known as ‘Helping Hands’ is found. Given the lack of jobs, the motley crew races to the office to get work there. The agency is run by the crafty Bert Handy, who along with his secretary Miss Cooling, hopes the business of ‘Helping Hands’ can be successful. Hiring the group, he awaits greatness. At first, business is pretty slow for all involved. Yet eventually, given that the agency has advertised that they will take whatever job there is, offers flood in for the staff. Which of course means that unusual and kooky antics are bound to follow, especially with this group of misfits taking part. And when the new order system that assigns jobs for everyone is mixed up, much mayhem ensues.

While Gerald Thomas knows what he’s doing to get laughs, his direction is as uneven as the stories at play. Nothing bad by any stretch, just a feeling of being too thrown together and forced. While other Carry On Movies have been episodic, they at least had more of a clear thread running through them. Regardless just feels like an overload of ideas that could have been rendered with more efficiency. Part of the fun in a Carry On is the camaraderie and group effort of the thing; Regardless keeps them apart for much too long. Now there’s still humour to be gleaned, with more innuendo peppered in there in budding fashion. Owing to the scattershot narrative, some vignettes stand out more than others. Joan Sims getting sozzled at a high society is hilarious, as is Kenneth Williams walking and entertaining a Chimpanzee for the day. Kenneth Connor’s story of a misunderstood message that leads to what he thinks is a spy operation is probably the funniest of the lot, especially as it really plays up the fact that he’s such a hapless chap. While these areas of Carry On Regardless are fun and get laughs, the rest of it somehow grinds to a halt. I feel that the talents of some members of the cast where not given great stuff to work with, which is a shame considering their talents. While the score is eventful, it isn’t the finest example of music in Carry On.

Sid James, with his trademark grin and dirty laugh, is clearly having fun as the boss of the agency, who everything seems to link back to. There’s something about James that really keeps you watching, even when the stories get to be a bit of a bore. Kenneth Connor, so far a firm favourite in the Carry On team, once more plays the underdog to the hilt. Connor just knows how to gain laughs from you with his brand of hapless enthusiasm and performance. I’ve grown to love Charles Hawtrey and his comedic talents, and though he gets one particularly funny scene, I was a bit disheartened that he wasn’t given a whole lot to do. The delightful Joan Sims shines in her main scenes with her comic timing and personality, making up for some of the less assured vignettes. And of course a Carry On wouldn’t be one without the inimitable Kenneth Williams. That vocal style, mannerisms and facial expressions are just too hilarious, Williams is a masterful comedian. Bill Owen is sadly given scant to do in this venture, while the gorgeous Liz Fraser provides ample sex appeal in her debut Carry On. Terence Longdon makes his last appearance, which sadly is one that is few and far between as he feels a little shoe-horned into the mix. Providing splendid support is the sweet and pixie-like Esma Cannon, whose pretty fun and endearing as a daffy secretary. Stanley Unwin appears, along with his trademark gobbledygook style of speaking to play a Landlord, that no one can understand. In a funny reversal of fortune from Carry On Nurse, Joan Hickson plays a hospital matron while Hattie Jacques is the put-upon nurse.

Not a bad movie, it has its moments that raise a laugh, but Carry On Regardless feels hit and miss in regards to the rest of the films.

Tremors

Tags

1990's, Bobby Jacoby, Comedy, Finn Carter, Fred Ward, Horror, Kevin Bacon, Michael Gross, Reba McEntrie, Ron Underwood, Tremors, Victor Wong

Film Title

Tremors

Director

Ron Underwood

Starring

• Kevin Bacon as Val McKee
• Fred Ward as Earl Bassett
• Finn Carter as Rhonda LeBeck
• Michael Gross as Burt Gummer
• Reba McEntrie as Heather Gummer
• Bobby Jacoby as Melvin
• Victor Wong as Walter Chang

A fine horror comedy that lovingly sends up and celebrates 50’s monster movies, Tremors is a fun ride and a film that has you laughing just as much as biting your nails.

Handy men Val McKee and Earl Bassett are growing bored with their lives in the desert town of Perfection, Nevada. Val is the younger of the men and more than a bit jocular, Earl is the older and more pragmatic of the two. While neither are the sharpest or brightest, they know that they can’t just doing menial jobs for their lives. Deciding to pack up and leave, their short-lived exit from town is cut short by the discovery of a dead body. The man in question is found up a pylon, dehydrated after being too afraid to climb down. Shortly following this is more gruesome discoveries and the men encounter seismologist Rhonda LeBeck, who has been investigating unusual activity in the desert area. It transpires that worm like creatures have emerged from beneath the ground and been attacking the residents, taking them underground for sustenance. With help from Rhonda, it is deduced that vibration and noise is what attracts them, leading the survivors to think up ways to communicate without being caught and plot some form of break from the growing onslaught . Holed up back in the dusty town, Val and Earl take residence in the convenience store with some of the other residents. But these creatures are getting smarter and more vicious, leading more frequent attacks .It’s now up to the group to come up with some way to escape being the next meal of these ferocious creatures.

Ron Underwood has a knowing sheen to his direction; gladly combining the humorous and shocking into one big ride. His efficient pacing makes certain that no flab is found and we get straight into the action, while still allowing the characters to take centre stage. The small community all have their respective quirks and foibles, which is pretty fun to see as they slowly band together to survive and defend themselves against the creatures. It’s a simple story, but Tremors knows this and with a winking eye to the audience, acknowledges what you’d expect from a 50’s creature feature and adds its own brand of things to the mix. Things especially hit a high point when the residents are forced onto the roof, while still attempting to conjure a plan of escape as well as keeping noise to a minimum. Having to be extremely careful not to alert the creatures of their presence The design of the worm like critters is through practical effects, and it looks well-worn by now, yet this adds something else to Tremors. What Tremors most has going for it is the humour, which is delivered in spades. The running gag of Val and Earl being unable to leave town, at first because of trivial things and soon quite deadly events, is hilariously done and plays throughout the darkly comic heart of Tremors. Horror and comedy is sometimes a difficult tightrope to walk, but Tremors does it extremely well. It ensures that the laughs are very present, but that it can ratchet up suspense and deliver the horror goods when required. Through quick point of view shots, the nasty creatures attack and we are thrown into the fray as they wage war on the residents. It’s a slice of entertainment of the highest order, complimented by a tongue-in-cheek and jaunty score that fits just right with the tone of the movie.

Kevin Bacon and Fred Ward lead the way as the two unlikely heroes of the piece. They are likable guys who while not the smartest people ever, have enough gumption and attitude to take on the terror in front of them. They are bungling, prone to disaster ,funny yet nifty when it comes to being practical and using what they have at their disposal.  A lot of the effectiveness comes from the chemistry between both actors, who clearly are having a blast and enjoy working with each other as the amusing and heroic duo. It wouldn’t be the same without Bacon and Ward in these roles, adding a goofy and irresistible charm to it. Smarts are provided by Finn Carter’s scientist, who is the real brains of the piece and a woman who can take action effectively too when the occasion calls for it. Stealing a lot of the show however is Michael Gross; portraying the war-obsessed and tooled up Burt Gummer with a boisterous personality and wicked gleam in his eye. His attitude and presence are both funny and hopeful, because at first his paranoid antics regarding a new war are laughed at, before coming in extremely useful as the horror rises. Reba McEntrie is his wife, who shares his obsession and love of firearms, while there is Bobby Jacoby as the town brat and Victor Wong as the convenience store owner whose place becomes a shelter.

An excellent pastiche of B-movies mixed with more of contemporary sensibility, it’s hard not to enjoy Tremors for just how much of a blast it is. Never taking itself too seriously, Tremors is an all round good time for horror fans who like their movies with humour.

Carry On Constable

Tags

1960's, Carry On Constable, Carry On Movies, Charles Hawtrey, Comedy, Eric Barker, Gerald Thomas, Hattie Jacques, Joan Hickson, Joan Sims, Kenneth Connor, Kenneth Williams, Leslie Phillips, Shirley Eaton, Sid James, Terence Longdon

Film Title

Carry On Constable

Director

Gerald Thomas

Starring

• Sid James as Sergeant Frank Wilkins
• Kenneth Connor as Constable Charlie Constable
• Leslie Phillips as PC Tom Potter
• Kenneth Williams as PC Stanley Benson
• Charles Hawtrey as Special Constable Timothy Gorse
• Joan Sims as PC Gloria Passworthy
• Hattie Jacques as Sergeant Laura Moon
• Eric Barker as Inspector Mills
• Shirley Eaton as Sally
• Terence Longdon as Herbert Hall
• Joan Hickson as Mrs May

A wacky fourth entry into the comedy series, Carry On Constable spoofs the police force with humour and eventfulness. Sid James joins the cast here and while it’s not classic Carry On, Constable has a lot of things to recommend.

A busy police station is struck by flu, leaving many of the staff unable to work. As the station is already understaffed, it’s difficult to find temporary replacements. They eventually come in the form of fresh out the academy; snobbish and sardonic Stanley Benson, society Lothario Tom Potter and highly superstitious Charlie Constable . Also joining them is the harmless and clumsy Special Constable Timothy Gorse and overly efficient Policewoman Gloria Passworthy. Yet even before the day has really begun, the main trio inadvertently aid robbers in getting away, setting in motion the rest of the day. Assigned to watch them is experienced Sergeant Frank Wilkins, who is under pressure from his superior due to the conditions of the place and repeatedly threatened with a transfer. His hope for something good to happen quickly goes south when the stand ins reveal that they are hopelessly inept and prone to mistakes. Nevertheless, Wilkins perseveres with them as he feels something for them and wants anything to rub the Inspector’s nose in it, yet avoid a transfer. But dealing with this quartet is no easy task as he soon discovers. Let’s just say there’s a whole abundance of mishaps along the way for the stand in coppers, with chaos seeming to happen everywhere they go. But can they all pull together and show some backbone in order for Wilkins to stay at the station?

Gerald Thomas makes the lively events and humour shine through with his customary gift for moving the story along at a riotous pace. Carry On Constable is quite similar to Sergeant, in that the batch of recruits are bumbling and prone to folly. Their antics are comedic and eventful. A few interludes don’t do much and lag, but the overall escapades are in high abundance and ready to gain the laughs from you. Some of the highlights include Charlie bursting into an apartment, only to discover that what he believes to be a murder is actually a radio program, Gorse attempting to rescue a cat from a bell tower and funniest of all, Gorse and snobby Benson dressed in drag to stop criminals, yet cause a lot more trouble when their harebrained idea goes to pot. The double entendres and sauciness is upped, with some fine play on words and the first instance of nudity( shown when the quartet experience a freezing shower and end up stumbling into the cells, much to the dismay of a drunken lady). A rollicking score plays well in time with the comedic occurrences that are around every corner of Carry On Constable.

We get the first appearance of the beloved Sid James. Playing a largely serious man who has to witness the chaos ensuing, James gets in some great laughs as he chafes at his superior and it exasperated by the ineptitude of his new recruits( though warms to them). He’s an authority figure, but a funny one that James plays well in his first outing in the Carry On series. The hilarious Kenneth Connor is on hand to be spooked and a bundle of nervous energy waiting to erupt, when playing the most timid and omen obsessed member of the team. We also have Leslie Phillips, him of the posh voice and wicked smile, as the charming dandy with only ladies on the mind throughout. Kenneth Williams is a right delight; outrageously and amusingly playing the pretentious member of the group, who believes he can spot a criminal from just a look. Such delusions of grandeur and sarcasm are embodied wonderfully by the great gifts of Williams. And of course there is the playful, almost childlike giddiness or Charles Hawtrey to recommend to everyone. Relating to Connor, Phillips, Williams and Hawtrey, you can really feel how comfortable they are in these roles and it shows a lot on screen. I think however that the female cast members are pretty underused in Constable; Joan Sims and Hattie Jacques are both gifted comic actresses, but neither of their roles allows for much of that to come through. It was nice seeing Eric Barker do a gruff and smarmy act as the chief Inspector, who no one has much time for because he doesn’t seem to have a clue about running the station. Shirley Eaton pops up briefly for the glamour and sex appeal, though her and Terence Longdon are not given nearly enough to do to make a dent on the film. Look out for Joan Hickson as a boozy society lady who seems to enjoy getting arrested on a daily basis.

Not vintage Carry On but still a riot of laughter, Carry On Constable has enough comedy and outrageous things to have a ball with.

Carry On Teacher

Tags

1950's, Carry On Movies, Carry On Teacher, Charles Hawtrey, Comedy, Gerald Thomas, Hattie Jacques, Joan Sims, Kenneth Connor, Kenneth Williams, Leslie Phillips, Richard O'Sullivan, Rosalind Knight, Ted Ray

Film Title

Carry On Teacher

Director

Gerald Thomas

Starring

• Ted Ray as Mr William Wakefield
• Kenneth Connor as Mr Gregory Adams
• Joan Sims as Miss Sarah Allcock
• Leslie Phillips as Mr Alistair Grigg
• Kenneth Williams as Mr Edwin Milton
• Charles Hawtrey as Mr Michael Bean
• Hattie Jacques as Miss Grace Short
• Rosalind Knight as Miss Felicity Wheeler
• Richard O’Sullivan as Robin Stevens

The third Carry On movie, Teacher is probably the one most kid friendly due to the setting but loaded with good humour and a surprisingly moving payoff.

The setting is Maudlin Street School, where the headmaster is a fair, honest man named William Wakefield. Beloved by the students because of his fair attitude and not wanting to use the cane as punishment, he is well liked and respected by the staff as well. Though while respected, there is some contention about whether more discipline should be introduced, given how naughty the children behave. But after 20 years at the school, Wakefield decides he wants to leave and accept another headmaster post elsewhere. The teachers; bumbling science master Gregory Adams, chirpy gym instructor Sarah Allcock, snide English literature professor Edwin Milton, tough math mistress Grace Short and fussy music maestro Michael Bean, all decide to be as in control as possible when they are told of his plans, though they are worried about what will come next .Coinciding with Wakefield deciding to apply for another post, there is to be a visit from the review his credentials and command within the school by Ministry of Education Inspector Felicity Wheeler and child psychiatrist Alistair Grigg. However, the children of the school have overheard Wakefield’s plans and not wanting to lose their adored headmaster, set about devising a systematic scheme to ensure he won’t be leaving. The children, headed by ringleader and noted troublemaker Robin Stevens, decide this visit is the perfect time to sabotage any chance of considering or being considered for another post. The pranks and tricks come fast as the students do whatever they can in the hope that stays as their headmaster. Lady-killer Alistair becomes infatuated with Miss Allcock and she reciprocates, while Wakefield has Gregory woo the terse Felicity in the hope it will further his move. It’s left to Wakefield to decide whether to leave the school or stay where he is so obviously wanted.

Gerald Thomas is on sprightly form in this third film, clearly enjoying the mischief and outrageous plans the children execute throughout the movie. There is a laugh a minute feel to Carry On Teacher, especially as you wonder just how far and inventive the next prank will be. The various tricks employed by the kids, involving spiking tea with alcohol, itching powder and anything to ensure that will not leave are comedy of the highest order . It all culminates in a pretty hysterical scene that takes place during the school’s production of Romeo and Juliet. While I earlier mentioned it was the most kid friendly Carry on film, Teacher still has smattering of innuendo and saucy lines to entertain everyone. From the tearing of Allcock’s shorts in gym to a discussion in English where the pupils purposely ask awkward questions regarding what happens on a wedding night, there’s no shortage of naughtiness, though with still a certain innocence involved . And while the clowning antics and pranks are all fine fun, it’s what is behind them that really makes Carry On Teacher special. The children may be trying to sabotage his perfect record but it’s for a good reason as opposed to just nastiness. Through pranks and various other schemes, it’s all to keep Wakefield as their headmaster. Alongside the humour of it all, there is something very touching to be gleaned from the proceedings. I think that was what made Teacher so far my favourite of the Carry On films; it had what I expected, and then some. The familiar lively score you’d expect from one if these movies is here, along with priceless sound effects that accompany the main slapstick action.

Ted Ray is fine in the lead, making the headteacher someone you can instantly warm to from the first time we meet him. You can see why the students would want him to stay on, because he is fair but not a pushover. Ray though shows that be just as crafty as the children and isn’t above a little fun to do it either. Kenneth Connor, who is fast becoming one of my favourite stars of the franchise, exudes bumbling enthusiasm and comic anxiety here. Pratfalls and mishaps are the name of the game with Connor, and he does them with great aplomb. Joan Sims, who is simply delightful, manages to be both upstanding and flirty almost at the same time, particularly when acting alongside Leslie Phillips. Speaking of Phillips, he is right at home essaying a familiar role of charmer and smooth talker of the bunch. Ding Dong indeed, as he’d say. The fun pair of Kenneth Williams and Charles Hawtrey appear as pompous teachers in their respective fields, who are almost always squabbling with each other, something both actors seem to have a ball with doing. The truly make a good duo of comedy and back and forth. Hattie Jacques, with fine comic timing and beady eyes, plays the stern teacher who most favours using punishment as discipline, though she is frequently overruled by everyone else in her views. Rosalind Knight has the haughty, disapproving attitude to pull off her inspector role, that thaws when met with bumbling Kenneth Connor. As the main instigator of pranks, Richard O’Sullivan is suitably mischievous but has his heart in the right place in what he executes.

Carry On Teacher has all the laughs you’d expect from a Carry On, but also boasts a gentle wistfulness and emotion that is surprising but welcome. So far, Carry On Teacher is my favourite.

Carry On Nurse

Tags

1950's, Bill Owen, Carry On Movies, Carry On Nurse, Charles Hawtrey, Comedy, Gerald Thomas, Hattie Jacques, Joan Hickson, Joan Sims, Kenneth Connor, Kenneth Williams, Leslie Phillips, Rosalind Knight, Shirley Eaton, Terence Longdon, Wilfrid Hyde-White

Film Title

Carry On Nurse

Director

Gerald Thomas

Starring

• Kenneth Connor as Bernie Bishop
• Kenneth Williams as Oliver Reckitt
• Hattie Jacques as Matron
• Charles Hawtrey as Humphrey Hinton
• Terence Longdon as Ted York
• Shirley Eaton as Nurse Denton
• Bill Owen as Percy Hickson
• Joan Sims as Nurse Dawson
• Leslie Phillips as Jack Bell
• Joan Hickson as Sister
• Wilfrid Hyde-White as The Colonel
• Rosalind Knight as Student Nurse Nightingale

After the success of Carry On Sergeant, producer Peter Rogers and director Gerald Thomas decided to do a second film( which in turn would lead to countless more movies in the series). They knew they were on to something and delivered comedy gems. Carry On Nurse is a riotously funny spoof of the health service, with more innuendo that would later become prominent and game cast having a blast.

The setting is Haven Hospital, specifically a men’s word that is anything but a haven for those working or recuperating. The ward is watched over by the overbearing and fearsome Matron, who has the workers scared witless of her and always attempting to not mess up. The trouble is the ward is seemingly a hotbed for every sort of accident or calamity there is, both of the amorous and amusing variety. The motley crew of workers and patients have enough antics to last a lifetime. In the ward there is Bernie Bishop, a boxer who is in after breaking his hand in a bout. The intellectual and always reading Oliver Reckitt complains constantly about the conditions of the place, using his silver tongue to annoy Matron. Bespectacled Humphrey Hinton spends his time laughing hysterically or re-enacting musical orchestra from his perms angle fixed radio. Chain-smoking cynic Percy Hickson is laid up with a broken leg. Recently arrived newspaper man Ted York, who is being treated for appendicitis and who becomes attracted to the gorgeous Nurse Denton. In a private room and constantly a nuisance is the Colonel, an elderly chap who bets on just about anything and causes grief to the nurses whenever he can. Scatter brained Nurse Dawson is repeatedly getting herself into bother, which always seems to occur when Matron is on one of her dreaded rounds. Add to this the cad that is Jack Bell, who wants his operation sorted so he can pursue a romantic rendezvous, and you’re in for a whole heap of trouble.

Gerald Thomas contributes his usual unobtrusive direction that is nothing overtly or stylistically challenging, but has the right tone and tongue in cheek wink to the audience that is delightful. Innuendo and double entendres enter the fray here and became a staple( one of the best and most memorable being Leslie Phillips uttering the words Ding Dong); here it’s a bit more innocent yet still very suggestive and great entertainment. There’s some amazing sight gags, slapstick elements and just plain old fun to be had as the patients run amok. Carry On Nurse is a finely done medical caper of people wreaking havoc in a place that is usually depicted as somewhat tranquil, with this send up showing hospital can indeed be unlikely fun. You can really see the elements that would later define the Carry On series coming together in Nurse, with amorous and saucy hints thrown into the mix. If you want a lark, just watching some of the sketches here, that will tickle the funny bone. Look no further than the laughing gas scene of the drunk patients, haphazardly and giggling as they attempt to remove bunion.  that is hysterically executed and a hoot thanks to the outrageous concept and levity of it all. The film has an episodic feel but that’s exactly what its supposed to be. You don’t go into a Carry On for a cohesive plot or to be tested, you go in for the jolly and cheeky ride it provides you with. The jaunty score matches the naughty and laugh-inducing antics of the characters in a madcap way.

Many of the cast from Sergeant make a return, along with some new additions. Kenneth Connor has a scrappy and gleeful kind of attitude that able suits his boxer character. Kenneth Williams is a hoot, particularly in the facial expression and witty line reading department. You simply won’t be able to contain laughing whenever he questions Matron or reacts to yet another jocular incident. Hattie Jacques is suitably formidable and dryly humorous as the Matron, who takes a dim view of how the hospital is being run and isn’t afraid to say it. The role of Matron or authority figure would become a familiar one for Jacques and one she plays wonderfully. Charles Hawtrey is a riot once more, that s time as a patient whose life revolved around listening to the radio and enacting what he hears. Plus, add his outrageous laugh into the mix and he’s once again a scene stealer. The main romantic sub-plot of Nurse comes from Terence Longdon and Shirley Eaton as patient and nurse. It’s not the finest part of the movie, but is engaging enough in the long run of things thanks to the attractive couple. Curmudgeonly growling can be found with Bill Owen, whose eye-rolling expressions are a joy to view. We get the first appearance of soon to be regular Joan Sims, whose funny, cheeky and clumsy antics as an accident prone nurse are comically endearing and hilariously acted. Also having a ball is Leslie Phillips; his playboy attitude and comic timing a great addition to the already fit to burst events on screen. Plus, we have him to thank for giving us the memorable Ding Dong catchphrase that would become synonymous with these films. Joan Hickson is straight-laced and by the book as the Sister of the ward, while Wilfrid Hyde-White has an eye-catching role as the troublesome Colonel, keeping the nurses on their toes each and every minute. In a small but plum role, Rosalind Knight is hilarious as an over-eager young nurse who comes onto the night shift and takes the job ridiculously serious.

With Carry On Nurse introducing more naughty humour and slapstick antics, the formula for the franchise comes into focus. And it’s a rollicking good time to be had by all.

Carry On Sergeant

Tags

1950's, Bill Owen, Bob Monkhouse, Carry On Movies, Carry On Sergeant, Charles Hawtrey, Comedy, Dora Bryan, Eric Barker, Gerald Thomas, Hattie Jacques, Kenneth Connor, Kenneth Williams, Shirley Eaton, Terence Longdon, William Hartnell

Film Title

Carry On Sergeant

Director

Gerald Thomas

Starring

• William Hartnell as Sergeant Grimshaw
• Bob Monkhouse as Charlie Sage
• Kenneth Connor as Horace Strong
• Kenneth Williams as James Bailey
• Charles Hawtrey as Peter Golightly
• Bill Owen as Corporal Copping
• Eric Barker as Captain Potts
• Terence Longdon as Miles Heywood
• Hattie Jacques as Captain Clark
• Shirley Eaton as Mary Sage
• Dora Bryan as Nora

The first in what would become a long-running franchise and British institution, Carry on Sergeant gives us a good starting point that introduces many of the key players in the series to us and has laughs a plenty. It’s not quite the bawdy movie that many if the later films were, but Sergeant provides you with an amusing story that delights in its own funny way. Let the Carry On Bonanza begin!

Sergeant Grimshaw is retiring from the army, but wants to win in the platoon championship before he hangs his boots up. He bets another officer £50 that he can win platoon of the year and sign off his career with a good swan song. His hopes quickly dip when he sees who is in his squad for National Service, many of whom take inept go a new level. There is handsome Charlie Sage, who is much aggrieved to be called up to service on his wedding day; weedy hypochondriac Horace Strong; smarmy and educated James Bailey; clumsy and effeminate Peter Golightly and upper class dandy Miles Heywood. With his second in command helping him, Grimshaw has his work cut out for him. Many pratfalls and mistakes befall them as Grimshaw tries to sign off with dignity and win that bet. He fears that this group will be a disaster and almost resigns himself to the fact that they won’t win. It’s here that the seemingly hopeless recruits decide to buck up and give it their best shot, out of a growing respect for the Sergeant. Meanwhile, Charlie’s wife Mary sneaks into the barracks with hopes of having a proper wedding night, and Horace is pursued by a volunteer named Nora.

Gerald Thomas, who would direct every one of the Carry On movies, has the right, light touch for the humour and performances to take off. He never calls attention to technical areas or showy camerawork, his focus is on the comedy which is delivered splendidly. Sergeant lacks the naughty edge and staples of latter films of the franchise, but it still gives you plenty of laughs with some hilarious set pieces. Among them are the accidental spraying of officers with fire extinguishers, repeated attempts to improve the group that often go pear-shaped and especially various imagined maladies and paranoia of Horace. The send up of the army and National Service is well done, managing to lampoon a respected organisation without demeaning it or completely tearing it to shreds. All in all, it’s a perfectly pleasant and harmless way to spend an hour and a bit. Good humour, great antics of the slapstick and farcical variety and the guarantee to leave you smiling is what you get. What may surprise many however is the fact that the humour is largely innocent here. Sure there is the odd instance of innuendo, but it’s mainly the antics of the inept squad that get the most laughs. And the ending of Sergeant does feature a bit of pathos, which is often a rarity in these films but fits here excellently. The lack of bawdiness is noticeable, but the humour is pretty fun throughout and will raise quite a lot of smiles and laughs from you( unless you have a heart of stone that is.) Some of it is obviously going to be dated given that it’s an old movie, but it’s hard to fault humour and laughs from an amiable cast. A lively score is another welcome addition to the speedy pace of the film and fits the calamities that transpire.

Of course to get laughs and humour to register, you need a good cast. Carry On Sergeant has just that, with various members later becoming staples in the long series. Heading proceedings is a dignified William Hartnell, whose interpretation of the retiring eponymous sergeant is the right blend of firmness and hidden caring. He’s a strict leader, yet not a horrible person despite his misgivings of the team. Bob Monkhouse is pretty good as the head in the clouds recruit, whose primary objective is to have a special night as man and wife with his new bride. Kenneth Connor stands out the most with a hilarious performance as the paranoid hypochondriac and ironically named Horace Strong. Constantly fretting about literally everything he encounters, he elicits pity, sympathy and laughs. Just watching him get worried at the sight of physical practice is enough to have you rolling on the floor. Two other longstanding stalwarts of the franchise are successful as the bumbling and overly gentle Golightly and the scholarly, know it all Bailey. The two men are Charles Hawtrey and Kenneth Williams, who steal many scenes they are in. Bill Owen and Eric Barker shine as officers of different ranks, but both who are concerned and more than a little amused by the spectacle before them. Terence Longdon doesn’t have the biggest or most interesting part, but still has fun playing the ladies man. Hattie Jacques is suitably no-nonsense as the army doctor, who grows impatient with Horace’s many visits to her. Shirley Eaton is the glamour and beauty of the picture, while we have Dora Bryan playing a daffy, wide-eyed woman who falls for the unlikely Horace.

The debut Carry on movie, Sergeant doesn’t have the some of same formula as the rest, mainly in terms of naughty shenanigans. But that shouldn’t detract as the cast( of whom many would return in future entries) and the easy humour of the piece make Carry on Sergeant. And if anything, we have the success of this film to thank for the creation of a much beloved film series.

The Fabulous Baker Boys

Tags

1980's, Beau Bridges, Comedy, Drama, Jeff Bridges, Michelle Pfeiffer, Steve Kloves, The Fabulous Baker Boys

Film Title

The Fabulous Baker Boys

Director

Steve Kloves

Starring

• Michelle Pfeiffer as Susie Diamond
• Jeff Bridges as Jack Baker
• Beau Bridges as Frank Baker

An enchanting comedy-drama of music, family and dreams, The Fabulous Baker Boys provides laughs and pathos with a fine trio of central performances by Jeff and Beau Bridges, and especially the lovely Michelle Pfeiffer.

Jack and Frank Baker are the eponymous, travelling musical duo; piano playing brothers who perform regularly and are opposites in almost every way. While older brother Frank is the responsible sibling who is always organised, Jack is a sometimes sullen man who has grown tired of their long running act despite being the more talented one. With business slipping and them having to perform in less than glamorous lounges as a second-rate act, both are feeling the strain of what their careers have become. Frank enjoys his music and does it to support his family, while Jacks feels the emptiness of it all. They have the idea to audition a female singer, to breathe some life into their act and hopefully drum up some business. The first few ladies they get are all pretty bad and it looks like the guys will just have to continue their act just the way it is. That is until former escort Susie Diamond walks in to audition, even though she’s an hour age a half late. Gorgeous, witty and with a take no bull honesty, she wins Jack and Frank over when she starts to sing. Now feeling a bit more rejuvenated, the group begins experiencing success with Susie as the star attraction. But with the success comes doubt and frustration, as Frank becomes concerned that Jack is romantically pursuing Susie. He worries that this will jeopardize all of them if everything gets too personal, and sure enough it does. This throws a spanner in the works and as both of them having to deal with dormant feelings of being failures and still trying to go on. While on the road touring, the dynamics of the brothers change as both, along with Susie, have to contend with disillusionment and the wanting for something more in their lives.

Steve Kloves both writes and directs this beguiling and elegant piece of film. And considering it was the first movie he directed, his inexperience doesn’t show. In fact, the easy confidence and attention to character are spectacularly done, displaying his gift for letting his actors do their thing and not being overly flashy with overt style. Kloves sprinkles an Old Hollywood feeling to the work, that’s mixed with a contemporary sensibility and nuanced depth. Comedic moments abound, with the crackling screenplay firing zingers throughout, while balancing the character’s shaky relationships and desires. Laughs and sadness seem to go hand in hand in The Fabulous Baker Boys, making it a whole experience. The occasional meandering moment can be ignored because of how well-defined and invested the characters are, plus the fact that we do like watching their wishes and dashed dreams unfold. As music is a big part of it, The Fabulous Baker Boys doesn’t disappoint on that score.  And what beautiful music it is! Silky smooth jazz grooves and slinky torch songs, lend both a sexiness and melancholy to the overall picture. And speaking of sexiness, I can’t review The Fabulous Baker Boys and not mention it’s most famous scene. In it, Susie, clad in a figure hugging, red dress, lounges across the piano and sings ‘Makin Whoopee’. Backed by the impressively warm and sultry cinematography that hovers over everything, it’s a sizzling high point of a fantastic movie.

While it is The Fabulous Baker Boys who have the title, the film really is a show for the talents of Michelle Pfeiffer. As the effervescent Susie, she displays a whole multitude of sides and angles that are natural and convincing( plus showcasing some gorgeous vocals). She’s tough yet vulnerable, hardened but dreamy and both nervous and seductive. Pfeiffer completely owns the role with a deft assurance. It’s a plum role for any actress, but Pfeiffer makes it so you can’t imagine anyone else playing it except her. For my money, this is one of the finest hour’s from one of my favourite actresses. Ably complimenting Pfeiffer’s excellence are the eponymous duo, envisioned by real life siblings Jeff and Beau Bridges. The chalk and cheese nature of the characters is nicely observed through the work of them both; Jeff’s charm and quietly seething demeanor as Jack counteracted by the more savvy but fussy personality displayed by Beau as Frank . I really got into their bond that they shared, which while shaky and volatile, still had a depth of heart ever-present. Being real life brothers obviously lends itself excellently to the often volatile relationship of the duo. The chemistry is natural and when the deeper feelings emerge, it’s intriguing to ponder whether it is just acting or something much more personal. Whatever the view, the Bridges Brothers bounce off one another effortlessly, while highlighting a certain weariness and quiet rivalry.

A slice of life drama and comedy, that has sparkling dialogue and an undercurrent of wistfulness, The Fabulous Baker Boys is sublime entertainment, well performed and nicely crafted.