01/21/08:
CARRY ON REGARDLESS (Gerald Thomas, 1961) 
For their fifth venture, the usual “Carry On” suspects (Sidney James, Kenneth Connor, Charles Hawtrey. Kenneth Williams, Joan Sims and Hattie Jacques) are joined by other irregular members (Fenella Fielding, Liz Fraser, Esma Cannon, Terence Longdon, Bill Owen, David Lodge and Norman Rossington) and some surprising cameos (Stanley Unwin, Jerry Desmonde, Kynaston Reeves, Howard Marion Crawford and Patrick Cargill) in a frequently hilarious but ultimately patchy and disjointed romp.
James’ Bert Handy heads “Helping Hands”, a well-meaning but hopelessly incompetent firm providing
any services the customer may require: and, so it is that James is asked by an eccentric millionaire to take his place in the queue at a hospital’s waiting room and is consequently mistaken for him and waited on by the matron (Jacques, naturally); Connor is in top form here: ostensibly hired as a babysitter, he finds himself acting as Fielding’s lover to arouse her neglectful husband, being a librarian driven to hysterics when attempting to observe a public library’s rule of silence, getting himself all wet when, completely misunderstanding a client’s request, he engages in some Hitchcockian espionage aboard a train full of sinister passengers, getting engulfed by the “Bed of the Century” when attending an Ideal Home exhibition and, best of all perhaps, going “cold turkey” after his sixth attempt to stop smoking; Sims also has a memorable bit when she ends up drunk at a wine-tasting event and makes a shambles of the place to the chagrin of organizer Crawford; Hawtrey goes into the ring against a massive opponent when, acting as his second, he inadvertently injures the challenger!; Williams enjoys a tea party with a group of chimps at the zoo, etc.
The finale shows Cannon’s infallible filing system going bonkers with each member of the group being sent out on the wrong assignment and, afterwards, the whole gang join forces in demolishing a dilapidated building…even if their original task was merely to clean it up a bit! In a notable appearance, celebrated comedian Stanley Unwin speaks his trademark nonsense language and drives the entire crew to distraction during his intermittent visits to their office…before multi-linguist Williams manages to explain that he is their landlord and is about to throw them out!
As one can make out, there are several funny bits in this film but it is also evident that its inherently episodic structure (which entails that some of the gang members are given precedence over others) fails to coalesce into a cohesive and completely satisfying whole.
01/22/08:
CARRY ON CRUISING (Gerald Thomas, 1962)
With a story by “Carry On”
alumnus Eric Barker, this is a fairly weak entry in the series – and, as I said with respect to ANTS IN THE PANTRY (1936; The Three Stooges short which preceded it), going through a succession of films featuring the same actors, one becomes rather weary of the repetition. In this case, it’s the characterization of individual members which hardly changes from one outing to the next (particularly at this early stage in the series, when the style of comedy more or less followed established rules rather than going all the way for
double entendres and general tastelessness)!
For instance, Sid James is once again the flustered authority figure who has to mould his underlings – these are forever eager but incompetent, led by know-it-all Kenneth Williams and nervous Kenneth Connor (who, invariably, is given a hesitant romantic attachment); their effeminate usual cohort, Charles Hawtrey, is absent here but his replacement is the resistibly goofy Lance Percival as the new chef on James’ ship. In fact, what drowns the film (pardon the pun) is the latter’s schtick – as well as the presence of diminutive and dotty old lady Esma Cannon (also seen in CARRY ON REGARDLESS [1961] and CARRY ON CABBY [1963]). It doesn’t help, then, that the most prominent actresses during this early phase of the “Carry Ons” – Hattie Jacques and Joan Sims – are also missing from this one…though it must be said that the two young female leads (Liz Fraser – also from REGARDLESS and CABBY – and Dilys Laye, who proves to be a surprisingly adept comedienne) are highly appealing.
Incidentally, this was the first film in the series to be shot in color and, as such, has added curiosity value – even if the overall quality isn’t really up to the usual standards.
01/23/08:
CARRY ON JACK (Gerald Thomas, 1963)
This title – intended as a spoof on the troubled MUTINY ON THE BOUNTY (1962) – emerges as the odd one out in the “Carry On” series: not only do we only find just three regular performers here (Kenneth Williams, Charles Hawtrey and Jim Dale), but there’s little typical material; taken on its merits, however, it isn’t bad at all and not quite the dud described on the series’ official website!
Incidentally, the irregular actors are the ones who score best – particularly Bernard Cribbins as an unlikely but likeable hero (his character is named Poop-Decker!) and Donald Houston, intense as the villain of the piece; on the feminine side, there’s the surprise casting of Juliet Mills (as a floozie who passes off as a midshipman – she sets out in search of her lost love, who turns out to be a pirate leader!). As I said, the “Carry On” stalwarts rather play second-fiddle here (especially Dale, who only gets an inconsequential bit early on), though Williams and Hawtrey manage to assert themselves during the film’s latter half (when Houston and cohort Percy Herbert instigate a mutiny and our heroes are cast off at sea).
While there are obviously a number of laughs scattered throughout, the general tone is atypically serious: Williams – playing the cowardly skipper of the “Venus”, he’s given the unsurprisingly ironic name of Captain Fearless – even loses a leg and, consequently, gets twice the “desk job” he so craved for. Also in the cast is Cecil Parker as the long-suffering Admiral who sets the naïve, bumbling Cribbins off on a naval career and reappears at the end to decorate him and his companions (Houston has blackmailed Spanish Governor Patrick Cargill into yielding his entire fleet and is taking it victoriously back to England, when it’s unwittingly destroyed by Cribbins & Co. – the ship's loaded cannons go off during a deck-fire, with the deed being taken for a successful attempt on their part to repel the oncoming Spanish invasion!).
01/26/08:
FANNY HILL [R-Rated Version] (Gerry O’Hara, 1983)
When I chanced upon FANNY HILL at the local DVD rental shop, I only had a vague notion of either this version existing or of what the “classic” novel was about – but since American sexploitation maverick Russ Meyer had made it into a intriguing movie himself back in 1964, I figured it was a bawdy period romp and, since I had been in a costume picture state-of-mind for a while now, I decided to give it a spin.
The presence of three veteran film stars (Oliver Reed, Shelley Winters and Wilfrid Hyde-White) was also enticing but, unsurprisingly, they are only there for marquee value: Reed’s almost incoherent Popeye-ish accent is simply embarrassing, likewise watching flabby madam Winters being surrounded by all that petite naked flesh (not hers, of course, but that of her charges and their consorts) flailing about, but it’s octagenarian Hyde-White (in his last film, no less) who tops both of them by snuggling in bed with the title character…who is all of 19 years of age; I’ve seen Hyde-White in several of his earlier films and I’m positive he never performed a love scene in any of them!
Indeed, it’s gorgeous leading lady Lisa Foster – who, thankfully, indulges in much full-frontal nudity by shedding her clothing completely at every possible opportunity – which, even in the heavily-censored variant I’ve watched, makes this consistently raunchy period piece tolerable; it’s a pity that she didn’t get much ahead in her acting career as one would certainly have liked to see even more of her. Interestingly enough, she later switched to doing animation work and was also involved in the digital restoration of Walt Disney’s SNOW WHITE AND THE SEVEN DWARFS (1937)!
The orphaned innocent Fanny Hill soon falls in with some ladies of ill-repute as she reaches London to better her prospects, and is immediately instructed in what is expected of her by a more experienced companion Phoebe (Maria Harper) by jumping into bed with her, and later spying on their fellow co-workers in action through hidden holes in the wall BELLE DE JOUR (1967)-style! In fact, the film’s plotline is very similar to that of Jess Franco’s MARQUIS DE SADE’S JUSTINE (1968) and it’s small wonder that the producer of that one, Harry Alan Towers, is also behind this production but, while I’d say FANNY HILL is a more agreeable picture, ultimately it’s just too blandly made to stick in one’s mind for much longer after it’s finished.
