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This film is brilliant i laugh every time i watch it . The whole thing is amazing Kenneth Williams is amazing as the Khazi of Khalibar a very unusual name! Charles Hawtrey is excellent as private Widdle. Sid is Magicial as usual Joan is excellent in fact the whole cast are excellent. This is the one start with in my opinion if you have never watched a carry on before then watch carry on up the Kyhber you will not be disappointed. Its one of the best carry ons ever made this is what the series was all about. Much better then carry on England. The film is so well done that they can get away with pretending that Wales was India!!.

Probably the best of the Carry-Ons. Genuinely funny performances from all the actors and a classic script.

Watch Carry on up the Khyber and then watch Zulu. Two films about the British made in the 1960's both of them perfect in their own way.

If you're American or British, you've probably watched some French classics, among them acclaimed comedies like "The Visitors", "Amelie" or "Dinner For Schmucks" but are you familiar with "The Charlots" or "The Seventh Company"?

These are staples of popular comedy whose appeal never crossed frontiers because of the very literalness of their popularity. So you might enjoy foreign movies from France, Sweden, Japan or Iceland and call yourself a legitimate cinephile: yet there's always an invisible barrier that can't be crossed and would keep many foreign gems in the dark except for the lucky or the perseverant type. I guess I'm one of these happy few because I just discovered the "Carry On" series and here's how it happened.

Since the beginning of the year, I've been regularly watching movies from the British Film Institute Top 100 and I was looking for one with a shorter runtime, "Carry On... Up the Khyber" had 88 minutes and after three black-and-white "kitchen-sink" dramas, I needed laughs, colors and goofiness. The opening credits convinced me that I'd made the right choice and this is my best comedic discovery since Woody Allen's "What's New Tiger Lily?". The film is outrageously funny and even if I didn't get more than half the references, I take pride for having never gone through one half-minute without a good chuckle at the very worst.

And so... what a jolly good journey in that Khyber Pass, a remote British camp in the Indian mountainside with not-so friendly neighbors from Kalabar, who could pass as Indians, Afghans or Arabs but you if you expect accuracy anywhere, I'd recommend the film's cousin "Zulu" with Michael Caine. The head governor of the province is Sir Sidney Ruff-Diamond (Sidney James), assisted by Captain Keene (Roy Castle) and Major Shorthouse (Julian Holloway) and guarding the Pass, there's the glorious Third Foot & Mouth Regiment lead by Sergeant MacNutt (Terry Scott) who notices the shameful secret of cowardly Private James Widdle (Charles Hawtrey) contradicting the very legend of the 'Devils in Skirts' regarding what they have beneath their kilts or as a matter of fact, what they don't.

Those were the British Empire glory days and it's very fitting that the military legend of the Empire where the sun never set involved the place where the moon didn't shine. And in the very context of the film, it also tells you what kind of humor it aims: right below the kilt... making it -one year before these TV shows' releases- the spiritual predecessor of "The Benny Hill Show" and "Monty Python's Flying Circus". Now, let's move back to the plot (literally).

One of the Karaban army generals Bungdit Din (the giant Bernard Bresslaw) discovers what lies under an unconscious Widdle's kilt and brings the exhibit (no pun intended) to the Khasi of Kalabar (Kenneth Williams) who is enjoying a game of polo with his daughter Princess Jelhi (Angela Douglas) and is exchanging diplomatic smiles with the governor and Lady Ruff-Diamond (Joan Sims). It's interesting that the Khasi has servants doing the sex for him and the governor and his wife are sexually frustrated so the whole exchange of gazes and salutes in pure deliberate camp still hits that right note as it can tell you what libidinous thoughts hide behind the character's minds. At that point of the film, I decided to read a little trivia and realized that "Carry On", the film I was watching was the 16th and arguably the best entry (hence its BFI inclusion) of a series that spanned more movies than James Bond. And I had never heard of it. That made the discovery all the more thrilling for I knew I was getting educated into something exclusively British.

Resuming my viewing, I got myself transported from one gag to another, from a hilarious under-the-kilt inspection to a visit incognito to Khasi's harem, the film uses every possible gags, not too much slapsticks, a lot of double entendres and a great deal of naughty naughty humor, the kind of humor where the wrong of a woman going ti another man (Lady Joan to the Khasi) is righted by many women sent to the governor who (as you might guess it) isn't too displeased for these tiffin session. This is a film where a religious man saves women from heresy by making love to them, he's Brother Belcher (Butterworth). This is a film where a girl asks which her mother is and her father says: "Foolish child! How many times do I have to tell you? She with the emerald eyes and hair of copper... and number thirty-two stamped on her back."

The film wasn't shot on location but in Pinewood studios, it didn't embarrass itself with historical accuracy, it doesn't mock Indian traditions but a certain Kiplingesque view of it, it doesn't mock cultural gaps but demonstrate that despite them, commanders from each side are enjoying the comfort of their cushy jobs and their little privileges and benefits in kind (one that goes with the term 'tiffin'). It still decides to remain British through a riveting climactic dinner scene that gives its full sense to the "stiff upper lip" spirit (an obligatory trope in any British war film) with the orchestra playing while the governor's place is being bombarded and when a fakir's severed head is served on a plate and a few bricks fall on the table, these inconveniences only meet downplayed remarks, the best one belonging to Joan Sims "I'm a little plastered".

There's something so refreshing in that era where anything could be sources of laugh. Such a film would be impossible... except maybe for the kilt gag, because... well, who's the joke's on?

As with glass, you can see straight through this movie, for what it is. Hilarious and witty, as is the talent of this huge Classic British Comedy Team.

Come on, you know deep down, they couldn't resist making a movie that rhymed with "Khyber Pass".

What a wonderful awry of comical satire and self-ridicule that Khyber Pass is. This, 1968, typical nostalgia trip from the Great Carry On team has bought us the usual Cast. We see Sidney James, as Sir Sidney-Rough Diamond and the beautiful Joan Sims as his torturous wife, Lady Joan Rough-Diamond, the very intelligent Kenneth Williams as the Rhandi Lal, the Khasi of Kalabar. Here, personally, I think that this is Bernard Bresslaw's, as Bungdit Din, best performance, his last Carry On was 1975's Carry On Behind, he passed away in June 1993, aged 59.

Without wanting to give too much away here, for you have to see Up the Khyber to appreciate the delivery of the script, ad libbing and comic simplicity that is Up the Khyber, which, excuse the pun here, carries itself off very well. Too much forewarning will only dilute the movies hilarious gags.

Not seeing Up the Khyber for many years, it was really a pleasant surprise, forgetting just how funny it is, and the combination, and their delivery, of the names of the characters. Lets face it; the absurd and totally ridiculous names of these characters are what truly make this movie.

This movie contains one of the most obvious (non) location doubles that I have ever seen. Since when has the real Khyber Pass in India looked like the green rolling hills of Wales, I mean, it's a five bar gate along a rocky green path running up Mount Snowdonia, they even put a tiny wooden sign on top, saying, "Please shut the gate". The Extras, seen at the Khyber Pass, who are dressed as local "natives" look like locals that have been paid to wear Turbans for the day, and the make up department haven't even applied make up. If it were not so funny, then it just would not be the Carry On it is. You just know too, that they must have had a great laugh trying to pull this one off. Pure admiration.

This movie shouldn't be passed over; it really is one of the best, where as Carry On Screaming was the better Produced, this is better scripted.

There is Glass and there are Diamonds, this is a Diamond of a movie.

Priceless.

Subtitled "The British Position In India", I was recommended to see this film by my friend Rav, who reportedly "busts a gut" every time he see Kenneth Williams in blackface and turban. I was pleased to have seen it on recommendation as it made me feel less guilty about viewing a Carry On that is vested not only with the usual quota of bawdy sexism, but also a generous dollop of racial stereotyping.

Yet despite it all, Carry On Up The Khyber still manages to be a very funny film. I can't claim to have seen the entire series (this was the 16th of 30 movies), but what I have seen leads me to cite this as probably the best. Produced at a time when Britain still had a significant film industry, the picture is allowed to play out without any of the desperate mugging and over-emphasised pauses that punctuate the majority of contemporary English comedy movies (including, ironically, Carry On Columbus, the ill-advised 1992 "comeback").

Khyber is relaxed because it knew it had a ready-made audience, and the humour also works because it is self-aware. Desperately cheesy lines (such as Peter Butterworth saying "What pretty earrings... are they rubies?", only to be met with "No, they're mine") are delivered shamelessly, and with a timing that acknowledges how truly awful some of the one-liners are.

Occasionally there is a line that plays to a higher audience, such as Kenneth Williams yelling at a man banging a gong: "I do wish you wouldn't keep doing that... Rank stupidity". There's also some slight political references to the famous slogan "I'm Backing Britain" and mention of the British being used to cuts, though I'm afraid I'm far too young to know what these are directly referring to. Generally, though, the humour is a series of puns on the word "Khazi" and rejoinders such as Sid James and Williams: "I'd even go so far as to say you're a bit of a shot". "Well, I hope I heard you correctly".

Even so, the humour, particularly constant attempts to nearly-ape the "f" word, did cause problems with the censor. In particular Bunghit Din's (my favourite Carry On member, the underrated Bernard Bresslaw) hilarious line of "Fakir - off!" was ordered to be reshot with an additional pause between the two words.

The rapid-fire pace of the gags mean that infrequent clunkers (such as Joan Simms attempting the old "call me an elephant" - "okay, you're an elephant" line, ancient even by Carry On standards) are quickly forgotten in the wealth of material. Superbly directed as well, particularly the closing scenes where the British (who are lampooned as much - if not more so - than their opponents) keep a stiff upper lip during bombardment.

The whole plot is, of course, absolutely ludicrous, suggesting that the final days of the Raj came about when a British regiment was discovered wearing underpants. The whole thing is the sort of film that would never be made nowadays, which is in many ways a good thing, yet there is a certain knowingness behind the eyes of the actors that keep it from dating.