Krankenschwester auf Rädern

This film is funny. Make no mistake about that. It's a gem of a comedy which provokes out-loud laughter in abundance. A whole host of comic characters are at hand to deliver some unforgettable lines amid a very simple, ungarnished plot.

Passing her driving test qualifies nurse Joanna Jones (Juliet Mills) for a position as a district nurse. So she, together with her dotty mother, moves into an out-of-the-way village to take up her new duties. After twenty-odd years under the care of an elderly district nurse, the villagers are somewhat distrustful of the young and beautiful Nurse Jones. This leads to some hilarious situations as the new district nurse is thrown amongst the village's inhabitants. Abel Worthy (brilliantly played by the irascible Noel Purcell) is felled by a tin of corned beef - just one in a series of delightful mishaps. And the dialogue is even funnier. `You know Dr Golfrey's secretary? That flighty young thing? Well, she's flown.'

Esma Cannon relishes the role of Joanna's eccentric mother and Norman Rossington plays a blinder as George Judd, the lovelorn hob-jobber but Juliet Mills is nothing short of outstanding in the lead role.

All in all, Nurse On Wheels is a wonderful example of English comedy. It may be a cliché but they don't make 'em like this anymore.

In the style of the carry on films with producer and music from the above, and full of so many of the best famous names in British film comedy ! It may not be one of the greatest films, but with the cast and the music it's still a class example British film comedy of the 1960's.

A marvellous bit of whimsy from Britain's film industry of the early 60's, when we knew how to make this kind of light-hearted comedy/drama. Almost everyone is perfectly cast - especially the pretty and pleasant Juliet Mills as Nurse Jones - and her mother, played by the incomparable Esma Cannon very nearly steals the show; the scene with the sink plunger never misses. Raymond Huntley's vicar is a bit thin on plot, but then he is there only to provide Joan Sims with a purpose anyway. However, on every DVD and TV showing I've seen, the reels seem to have been assembled in the wrong order and the plot strand concerning Joan Sims applying for a job seems back-to-front! Despite this, Nurse on Wheels is a pleasant 90 minutes of classic British gentle comedy with a fine cast of regulars. I can only agree with other posters who have said 'they don't make them like this anymore'.

NURSE ON WHEELS does feel very much like a non-canon CARRY ON film, a feeling exacerbated by the presence of not one, not two, but three CARRY ON big names: Gerald Thomas as director, Peter Rogers as producer, and Norman Hudis as writer. Add in the presence of a number of CARRY ON players in support and you have pretty much a CARRY ON movie in all but name.

The tag line proclaims this as "funnier than CARRY ON NURSE!" and I would have to disagree with that statement. The early black and white CARRY ONs were all very good indeed; there was no time taken to get the series up to speed, they had the formula correct from the word go and the resulting films feel fresh and sparkly even now. NURSE ON WHEELS spoils things a bit by including a large romantic sub-plot which makes this sometimes feel like a light romance from the 1940s rather than an early '60s comedy.

Still, there are plenty of reasons to tune in, not least the efforts of the solid cast. Juliet Mills is full of warmth and humour as the district nurse lead, although the fish-out-of-water type humour feels very quaint and even antiquated for a modern viewership. Ronald Lewis is stuck with the stodgy role of a farmer, although Noel Purcell shines as the eccentric general store owner. Sadly, one of the best known of the CARRY ON actors, Joan Sims, has her comic talents wasted in the part of a jealous rival. Still, Esma Cannon is delightfully eccentric, old talents like Joan Hickson and Renee Houston remain amusing, George Woodbridge is cast delightfully against type, and Jim Dale makes a mark early on in his career.

Nurse Joanna Jones finally passes her driving test and thus is eligible to take the job as District Nurse in a small country village. When she manages to get to her new location with her dotty mother in tow, she finds that she has got to fill the very large shoes of her predecessor Nurse Merrick. Settling into her job, Jones gets to know the eccentric set of patients she has to deal with – not to mention the attractive Dr Golfrey and the embittered local vicar.

Modern packaging and marketing of this film would have you believe that it is part of the Carry On series but even a viewing of the first 15 minutes will tell you that, other than Joan Sims, this has very little in common with Carry On Nurse (which was of the similar period). Instead of the freewheeling irreverence of that series this is much more structured and actually a mix of a light humour with a reasonable story. This is not to say that it is brilliant of course, because it is a fairly unremarkable affair although it is enjoyable if you meet it on its own terms. The humour is consistently gentle but does coax out some laughs while producing an amusing tone throughout, it isn't hilarious of course but I quite liked it and did find it a bit more refined than the other Nurse film (although it does have some similar joking, including a "bottom" joke at the end that is reminiscent of Nurse's famous daffodil conclusion).

The cast are quite pleasing and they seem to take to the relaxed tone of the material easier than the rather forced "wackiness" of the Carry On films. Mills is pretty and pitches it well in the lead role, but many of her scenes are stolen from her by Cannon's wonderfully comic dotty mother. Support features some good turns from Sims, Dale and a few others but I must admit that I wasn't overly taken by Howard as Dr Golfrey.

Overall this is an enjoyable film even if it isn't anything special and is never hilarious at any point. The cast do well with the tone of the material and the film delivers a consistent good humour within a story that is well enough structured to stand up better than some of the Carry On films that did feel a bit like a collection of sketches at times.