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The story of Cynthia Payne (London's notorious 'Luncheon Voucher Madam') could have easily been made into a tawdry little sex farce, but underneath all the kinky detail is a film aspiring toward something more than just another naughty biography. Julie Walters' vivid performance, bristling with barely suppressed nervous energy, creates a memorable portrait of a working class girl who, to make ends meet, opens a cheerfully uninhibited suburban brothel catering to the milder perversions of errant older gentlemen: costume fantasies; flagellation; transvestitism, and so forth. There's plenty of wit (much of it with a sharp edge) in David Leland's screenplay, which despite its forthright lack of inhibition is remarkably tolerant of (and even sympathetic to) the shortcomings of its characters. Names have been changed to protect the innocent (and hide the guilty), but the facts are essentially true (despite a pair of disclaimers) and Terry Jones' direction shows more tact than otherwise might be expected from a former member of Monty Python's Flying Circus, a troupe never known for their subtlety or discretion.

I remember me and my friends renting this out back when we were teenagers because the video cover made it look like it was going to be a sexy romp. Imagine our surprise when we sat down to watch it and discovered it had all the sexiness of a John McCririck workout video. In fairness to me and my teenage mates, we actually really liked this one, despite the false advertising. It begins with a disclaimer, pointing out that this is absolutely not the story of the famous British madame, Cynthia Payne. And clearly it isn't seeing as the madame in this one is called Christine Painter - a name not similar in any way whatsoever. So, yeah, despite the disclaimer, this basically IS the story of Cynthia Payne; of how she became a prostitute and set up a happy house which attracted a bunch of elderly men in need of servicing. It was directed by Monty Python's Terry Jones and was even banned in Ireland for two months! Revisiting it all these years later, I would say it isn't massively funny but its still a decent movie, with Julie Walters putting in a good performance as Payne.... I mean Painter.

This film is a forgotten British Masterpiece, if only for its portrayal of something we still find difficult to come to terms with now in 2016. Everyone has a little inside them of what is shown here, awakening that, sometimes is beyond our own choices, but for us to begin to understand what makes people tick, this film really needs to be watched. There is a little nudity, but more important, there is good all round acting and a solid belief when you reach the end that your time has not been wasted. If you can indeed find a copy i fully recommend you open a bottle of wine, get out the popcorn, close the curtains, lock the door, put out the granny, and enjoy.

Julie Walters is great in this story of a woman who starts off life working in a café but ends up being arrested for living off the immoral earnings made running a brothel for the great and the good. It's loosely based on the rise and fall of the renowned madam Cynthia Payne (who consulted on the drama) and reaches inside the murky sex industry, laying bare peccadilloes galore as we discover a wide variety of kinks that keep all ranges of society entertained and/or employed. "Christine" is a shrewd business woman whom aided by her stalwart "Dolly" (Danny Schiller); "Shirley" (Shirley Stelfox) and the RAF veteran Wing Commander - in panties and a bra - "Morten" (Alec McCowen) is making quite a go of her elicit enterprise. The police pop up now and again, but for the most part Terry Jones left me with thinking that this is actually quite an empowering drama. Certainly some of the women taking part do so out of necessity - and perhaps that is rather underplayed here - but we are also presented with the inescapable fact that human beings are all different and that the Victorian-era proscription of sex, and of sexual practices between consenting adults is long outdated and certainly no business of the state or their agencies. David Leland has written a script that is peppered with realism, sarcasm and proves ideal for the on-form Walters and her well targeted delivery. It does meander around familial discord a bit, which I didn't need - but the last few scenes speak (or should that be spank) volumes about the hypocrisy and double-standards that prevail in a society that should enjoy sex and keep it's nose where it belongs... It's good fun and thought-provoking in equal measure, and well worth a watch.

This film has a preface that it is fiction, and though the writer David Leland was inspired by a book by Cynthia Payne - the infamous British Madam - this is not the story of Cynthia Payne. The disclaimer is repeated at the end, and then we see that the production consultant was Cynthia Payne. Perhaps there was a legal necessity for Madam Payne and the film-makers to provide this escape clause, since the film's madam, named Christine Painter, was charged with possessing obscene material for gain and running a brothel.

What makes this madam's brothel different is that Christine's clientele is gentlemen over 40 with a taste for kink, though the bondage and discipline we see is very mild. You would have to be extremely prudish to be offended by such behaviour. What makes these scenes so funny is how ordinary the customers are, which only reinforces the hypocrisy of the laws that consider prostitution a crime, and the insight the "tarts" have into men's sexuality. I loved the line "When the balls are full, the brain is empty", and the madam's argument that wives would never be wanting for anything as long as they kept their men "de-spunked".

As Christine, Julie Walters delivers a brilliant comic performance. She is a no-nonsense uppity woman, constantly in motion, who has never cared for sex but enters into the business for economic reasons. The ads posted in a shop window are deliberately double entendre-d eg large chest for sale, french polishing available. Walters looks surprising voluptuous here though as she becomes more successful she starts to resemble a drag queen. When she attends her sister's wedding, there is a confrontation scene with her father, and we see what a fool he is for not appreciating her.

Director Terry Jones came from the Monty Python group but it is to his credit that the humor is not juvenile or in poor taste. Walters does have an odd scene where she is suddenly in an exotic location and spying on a couple having sex, another where a revolving camera glorifies her romantic fantasies, and the circumstances of a missed "normal" date hint at that old chestnut that whores are doomed to die lonely. But overall the tone is light and positive. Special mention is made of Shirley Stelfox as the stern "Nanny", and Danny Schiller as the maid with an undetermined sex.