Cor, Blimey!

In the U.S. in the 60's and into the early 70's the 'Carry On' films were telecast as Late - or more usually, as Late, Late Shows: in the age before wall-to-wall content/media these films were, in the States, filler fare - almost throwaways, because it's likely that U.S. distributors didn't, or couldn't, demand or get great sums for the 'Carry On' films from broadcasters who used them to flesh-out (pun definitely and cheekily intended!) their late-night schedules. But whenever a 'Carry On' film aired I did my best to see and enjoy it - there's just something so utterly and unselfconsciously charming about them that made them irresistible to me. (My favorite, by the way, is 'Carry On, Sergeant,' because it features the brilliant, and under-appreciated - at least on this side of the Pond, William Hartnell.) The 'Carry On' films are from a time when good, clean fun could be and was enjoyed, a time before the soul-corroding rubbish of political correctness and the supercilious hypersensitivity with which it burdened life in all of its dimensions except for the realm of the individual's soul, hadn't yet begun to darken everyone's doorway and to dumb-down and dull to death what now passes for education, newspapers, and television and theatre; it was also a time before we let our children be soaked in the properly adult matters of sex and sexuality - and yet even children could and did enjoy the 'Carry On' series. It was a time in which harmless titillation and suggestiveness allowed viewers' imaginations to do their own good and joyous work; it was nothing like nowadays when the Beeb, and much of Hollywood, vomits monotonously nothing but dull Orwellian multi-culti preachiness and strictures - which are far worse than "liberal" and "progressive" critics of the foregoing vibrant and delectable "monoculture" have had the imagination to have yet grasped (heaven forfend that anyone should scandalize a Mohammedan or offend another nunnish radical feminist to anguished despond and spitefulness). It was the existence of the now dead and late lamented, at least by me, monoculture's healthful customs and manners that made the Carry On films the widely enjoyed success that they were; nowadays, with the so-called barriers to everything and anything (except, obviously, to genuineness and to the decency which it begets and widespreads) having been demolished, and all babies having been thrown out with the bath water of the monoculture's supposedly unique and malicious "Eurocentric" hypocrisy, the consequent lack of spontaneity and decency have yielded nothing but Orwellian dullness and monotony which the monoculture's detractors had supposed themselves to be gloriously relieving us of. It was the existence of sound rules and healthful customs that made funny business funny; now that all those old rules have gone, the lack of rules and "barriers" (except, of course, those prescribed for us by our self-vaunted "correct" elites who have replaced the people we once knew to be our betters) has rendered nothing funny and everything grim and seedy and contentious - 'Much Ado About Nothing' indeed.

U.S. 'Carry On' film fans saw very little of the UK publicity for, or British gossip sheets' focus on, the 'Carry On' cast members, so I ought to take 'Cor, Blimey!'s' account of the James-Windsor affair with a large grain of salt; and comments made by Britons here on IMDb, having pointed out the film's taken licenses and liberties, I feel that grain of salt is a proper one to take. It was filmed on a very low budget as its resort to extant, ready-to-hand cinema sets, props, and costumes testifies amply; and yet, like the 'Carry On' films themselves, 'Cor, Blimey!' has its own irresistible charms because it's well-cast, well-played and, almost throughout, astutely written from an ear finely attuned to the sensibilities of its period and the milieu in which James and Windsor carried on their affair. Despite its lackluster editing and somewhat muddy soundtrack, I enjoyed it immensely, and so with great enthusiasm I recommend 'Cor, Blimey!' to everyone who's ever enjoyed - even secretly lest they dread to suffer accusation of deserving to belong to the vulgar mass or, perhaps worse, to one or another of the so-called "Oppressor classes" - a good old, pull-the-bung-out (but only halfway, because it's always far funnier when your imagination does the really funny work) hilarious 'Carry On' film.

Now, since "Vanity of vanities; all is vanity," let men go out and stare unselfconsciously at greater and lesser bosoms and let women giggle gleefully at the men making fools of themselves. Carry On, All!

The "Carry On" movies were probably better distributed in Canada than the States, because we'd been weaned on British humour by the CBC, but they were strictly B-market, playing small town theatres and drive-in double bills. Still, aside from Sidney James with his TV shows, it's doubtful that the majority of those appreciative rural audiences could attach names to the faces on the screen, and while we drooled with the rest of this continent over the doings of the Beatles and Mick and Marianne and even Peter and Britt, the lives of the "Carry On" crew were an unknown commodity.

"Cor Blimey!" is something I tuned into out of idle curiosity and found myself rivetted. While I don't doubt it has its share of inaccuracies (some even I spotted, like misplaced productions in the time frame), the warts-and-all depictions of these troubled comedians has an authenticity I don't for a moment doubt. The friendship (yes, friendship) between James and Williams is particularly provocative, as they verbally spar on a constant basis and, deep down, enjoy every second of it, and each other. A telling moment is when Kenneth learns of Sid's death, and his smart alecky composure instantly falls away to a look of stunned grief. Adam Godfrey is nothing short of amazing as the caustic Williams (that moment where he tells the little autograph hunter to bugger off is horribly hilarious), a beautifully realized portrait of a brilliant and frustrated soul driven to extremes of exhibitionism. I remember reading the Joe Orton biography years ago, and being mystified that a "Carry On" comic was so thick with the doomed literary couple, like trying to evision Soupy Sales hanging out with Paul and Jane Bowles. Clearly Williams was exactly their type, and it's a pity that the rather tepid "Prick Up Your Ears" didn't incorporate him as a character.

While the story's focal point, Sid James' loosing battle with the bottle and his crazed romantic obsession with Barbara, who only has deep loyal friendship to offer, is rich and poignant, I could've done with more details about the rest of the "Carry On" crew. We only get the most fleeting glimpses of the (excellently cast) Charles Hawtrey and Joan Sims and Bernard Bresslaw. Also there's some conspicuous absenses, such as the divine Hattie Jacques (Dawn French would've been ideal). One moment that brings to mind another reviewer's comment on the amusing blend of film artifice and reality, is when Sid has his first stroke and he's in the hospital with the Jacques-like floor matron (Claire Cathcart). I was thinking for sure that this was a recreation of the "Carry On Doctor" set, until Barbara shows up to visit.

Anyway, I'll leave disputes over the film's tastefulness and historical accuracy to people of the Isles who better knew these stars, but for someone from this side of the pond for whom the "Carry On" films is a delightful 60s/70s footnote, this finely done TV film is an intelligent and illuminating watch.

Despite the fact that a number of chronological inaccuracies can be a little off-putting, the sheer talent and warmth of the actors bringing these well-known and much loved characters to life goes a long way toward redeeming the film from its obvious shortcomings. The principal casting is sublime, without exception. Even the late Kenneth MacDonald, better known as Mike in Only Fools and Horses, has a great cameo as Barbara Windsor's comically sinister minder and associate of her then husband, Ronnie Knight.

For me, the film comes into its own in the second half, as the characters cope with the looming demise of the Carry On franchise and confront their own unravelling lives. It's hard to imagine a more convincing Kenneth Williams than Adam Godley, although the other players are just as accomplished.

One point to take issue with, for me, is the portrayal of Sid James, although Geoffrey Hutchings' performance is flawless and convincing. It's well known that the real Sid had his flaws, but many of his fellow cast-members, male and female, have described him in interviews as a gentleman, well-mannered and considerate, a pleasure to work with, a generous actor and thoroughly nice man. This doesn't really shine through in the portrayal, and early in the film especially, he is represented as little more than an unwashed serial sex-pest. The passion-fruit gag (best left to the imagination) becomes cringe-worthy and I think is way overdone.

As the film progresses, a more human side emerges and we see Sid's enormous popularity and warm relationship with his fans, as his infatuation with Barbara Windsor becomes destructive. Samantha Spiro's Barbara Windsor is so believable that you almost don't notice when the real Babs herself joins Adam Godley's Kenneth Williams for some poignant reminiscing in the closing moments of the film.

Many of the real Carry on Gang, despite giving so much pleasure to millions around the world, remained unfulfilled personally and professionally, and endured disappointments and great unhappiness in their off-screen lives. They were exploited very badly by the Carry On producers, who continued to make millions from endless repeats around the world, while the stars themselves had taken relatively modest, one-off fees.

Forgiving some of the film's flaws, it's a nice tribute to a wonderful and much loved generation of British actors and entertainers.

We know that many of the actors in the long running Carry On series had personal problems - perhaps this is why they were so funny and we laughed with them not at them. This film could have only been made by people with a deep affection for the Carry On films and the actors involved. Don't expect an air brushing of history to pretend all the Carry On actors were perfect. Also this is only an interpretation of the events and characters and does not purport to be autobiographical. It is both very funny and also very sad - the two masks of comedy and tragedy. The impersonations are extremely good. The fact that Barbara Windsor was willing to take part must at least indicate approval from one Carry On cast member.

Almost every bit as saucy, bawdy and occasionally seedy as the "Carry On" movies themselves, this warts and all encapsulation of the doomed relationship between older man Sid James and bright young thing Barbara Windsor provided captivating entertainment. Commencing brightly and convincingly with some cute camera perspective tricks, perhaps demonstrating the illusory and ultimately false world of entertainment and entertainers, the story contains just about the right mix of drama, pathos and humour throughout, helped by convincing portrayals of almost all the leading players, themselves so familiar to a generation of us who can still hardly turn on the TV here without one of the series beaming out at you (my personal favourite? - "Carry on Cowboy"!).

Although concentrating naturally on the James/Windsor axis, (to the exclusion of both protagonists' spouses), the third side of their love triangle turns out surprisingly to be the acerbic, extrovert but ultimately self-loathing Kenneth Williams, acting as a lightning-rod to James' adulterous excesses (which seemed to extend to bedding every available young female on set) and comforting-board to Windsor as she agonises whether to give in firstly to his physical desire and then later emotional need for her. It's impossible of course to know the full extent of the emotional complexities of this troubled group of actors, besides the accurate extensions of their obvious on-screen personas, but given that Ms Windsor was on board here as a consultant and contributed a cameo piece as herself, I'm prepared to accept what I saw as true-to-life.

One or two James fans might demur at his portrayal as a serial philanderer but I still found his lovable rogue depiction sympathetic. The acting is universally excellent, all the leads capturing the trademark vocal and physical characteristics of their precedents (as indeed is the case with minor characters too) and it was fun to see accurate on-set recreations of famous "Carry On" scenes, including Windor's famous bikini-bursting scene from "Carry on Camping". The dialogue throughout was natural and seemed to me wholly in character, with many witty aphorisms especially, as you'd expect, from the Kenneth Williams character.

All in all, a convincing insight into the lives and far from starry lifestyles of UK national acting treasures and a worthy celebration of a long-standing British cinematic institution.