Carry on Cowboy

A sanitary inspector is mistaken for a law marshal in a slummy western town, and is expected to sweep away the gang terrorizing the habitants.

Unexpectedly clever, engagingly performed and enjoyably spirited western spoof that ranks among the best of the series.

This is not only one of the best sustained efforts from the “Carry On” crew but a classic film in its own right. I had mentioned it as a rare example of a British Western spoof when I recently watched THE FROZEN LIMITS (1939) with The Crazy Gang; incidentally, the film’s style is pretty close to that of BLAZING SADDLES (1974) – but it actually anticipates Mel Brooks by almost a decade!

There are so many inspired gags in this outing (right from the opening sequence with the black-clad Rumpo Kid arriving in town and immediately gunning down three men, only to then ask himself “I wonder what they wanted?”) that it’s hard to remember them all – even a mere couple of hours later. Notable, however, is the merciless lampoon of the Wyatt Earp legend by making its namesake here (played by soon-to-be Dr. Who Jon Pertwee) – and whom the Mayor even addresses as Twerp – completely useless, being both short-sighted and hard of hearing!

The “Carry On” stalwarts are in top form, foremost among them Sidney James (as the afore-mentioned Rumpo Kid, amiable outlaw leader – in urgent need of cash at the saloon, he excuses himself to casually hold-up the bank situated just opposite!), Kenneth Williams (as the Mayor of Stodge City – reportedly, he lifted his American accent from legendary comedy producer Hal Roach), Jim Dale (as Marshall P. Knutt, a sanitary engineer mistaken for the new sheriff because of his name!), Charles Hawtrey (as the unlikeliest Indian Chief ever – he’s actually introduced emerging from a tepee-cum-lavatory!) and Joan Sims (as the traditionally sultry saloon hostess); besides, Angela Douglas (who subsequently appeared in three more “Carry Ons” and would later become Mrs. Kenneth More!) – playing the real-life Annie Oakley – makes for an extremely charming gun-toting heroine.

The last third of the film turns into a spoof on the seminal HIGH NOON (1952) – with Dale left to face James and his gang alone in a delightful, and most original, climax. Incidentally, the sheriff’s heroic resistance of a stagecoach raid by Hawtrey’s Indian warriors (ending with James – who engineered it – disappointingly quipping, “I’ve met braver cowards than you braves!”) was actually the work of Douglas i.e. in the vein of THE MAN WHO SHOT LIBERTY VALANCE (1962); Dale’s subsequent awkward coaching in the handling of firearms, then, is hilarious. Another influence from classic Westerns is in the catfight between Sims and Douglas – in this case drawing on DESTRY RIDES AGAIN (1939).

While CARRY ON COWBOY’s send-up of a popular genre easily makes it one of the gang’s best-known entries, I was surprised to learn that it’s not held in highest regard by even staunch fans of the series – such as the people behind the official “Carry On” website, citing its (deliberate) lack of authenticity as a major drawback; I couldn’t disagree more since, to my mind, the level of humor and ingenuity displayed throughout is soaring indeed for this erratic (and idiosyncratically crude) brand-name...

I have a weakness for western movies and maybe that's the reason why I enjoy this one so much when I find so many others in the series to be bland and boring. It predates Blazing Saddles and, to my mind, makes better use of genre clichés.

Sid James is superb as the Rumpo Kid. As are the rest of the regulars though Kenneth Williqams' accent takes some getting used to. The studio sets look suitably like the American frontier and the plot involves all the western conventions from cowardly sheriffs, Indians and the obligatory bar room brawl.

Carry on laughing indeed.

I know the credit for the definitive comedy western mostly goes to Mel Brooks Blazing Saddles I think this is a pretty good contender. Weserns are often pretty funny to watch these days any way because apart from notable exceptions the genre seems a little camp these days. Its a very classy carry on and the budget seems much more generous than other offers in the series. The sets are very impressive and the costumes look wonderful. The outdoor locations are much more convincing than other efforts. I must check to see where it was filmed as it certainly looks like the west in USA. The English team handle the American accents very well and the ever reliables are all in fine form. If at times the accents sound a little like the south of London it actually adds to the fun of the proceedings.Having been to USA several times let me assure you the accents are accurate. Williams is very good as always and Joan Sims looks lovely and proves yet again what a great star she was. Jim Dale in many ways gives the stand out performance. This remarkably gifted actor gave so much to this series and his energy and comic timing is brilliant. Sid is there at the top of his game. Jon Pertwee gives a really funny performance as the sheriff, blind and deaf and it is a comedy masterpiece. Charles Hawtrey is camper than ever and plays the Indian chief with his famous glasses and unlike the others remains Hawtrey as we all want him. Of course its a stroke of comedy genius that all the actors have American accents except for the Indian chief who speaks with a perfect English Oxford English.There is no American accent from the loved performer. The early part is hilarious but once the great Hawtrey starts playing a drunk with a love of fire water it strangely gets a little sad when you are reminded of the great performers sad decline. Its a fun film and the only reason I give it a six is because despite the merit the gag gets a bit thin. Its a sketch idea dragged out into a movie length. Still its a a funny movie.

The theme of the tenderfoot pitched into the Wild West and cleaning it up was old by the time England's merry Pinewood pranksters tackled it.

In a sense, that is the history of the USA in a nutshell: disciplining the wilderness with the aid of the greenhorn's civilisation. "Destry Rides Again" and "The Paleface" had made a joke of the epic long since-- safe to do so once the frontier was closed and tamed-- and not long before, Britain's Kenneth More had visited Hollywood to play the Limey sheriff of Fractured Jaw. Mel Brooks would go over the old ground in "Blazing Saddles" and John Cleese would uphold the law in "Silverado".

Enter Jim Dale as the 1966-vintage innocent abroad: a sanitary engineer (first class), mistaken for the US marshal who can rid Stodge City of the baleful reign of terror of the Rumpo Kid. ("Rumpo" is an obsolescent Britishism for Sid James's favourite activity-- cf "tiffin" in "Carry On... Up the Khyber".) Abetted or hindered by a corruptible judge, a saloon madame, a drunken Indian, a whiskery and wheezy old Confederate colonel, a six-gun-totin' Annie Oakley and other stock figures from generations of fleapit oaters, P. Knutt does his best and worst.

Scriptwriter Talbot Rothwell was now well launched on the great period of Britain's most successful and durable film comedies. Historical spoofs inspired Rothwell: Cleo, Screaming, Khyber. This one is a little different, and perhaps falls a little short.

Attention to detail extends beyond the sets and mounting of the production, which always belied Carry On's "low budget" tag: the accents and horsemanship are more than adequate, the body language in the crowd scenes accurate enough to be mistaken for a Randolph Scott or Audie Murphy vehicle, and apart from Hawtrey (who is funnier for not trying to be anything but himself) the principals, like the script, stay firmly in the roles as written.

This Carry On eschews anachronistic and topical gags as well as calculated flaunting of its cheapness. It lacks some of the more incongruous belly laughs and double entendres we expect from Rothwell-- although "bullocks", to be reiterated in Khyber, are harnessed here already. Babs Windsor, who turned everything into a cockney music hall romp, is replaced by the more actressy and straightforwardly glamorous Angela Douglas; Kenneth Williams depicts an old man for once, with no epicene overtones; Sid, who had often played Yanks, is conscientious about remaining in character. He does not lean as much as usual on his dirty laugh or "cor blimey", more on a priapic snorting.

There is more action, less slapstick. Future stalwarts Butterworth and Bresslaw make their bows, and have not yet established themselves enough to be given a lot of personally tailored business. Running gags are displaced for plot twists. In short, this is one Carry On that leans on story and consistency more than on a string of harking-backs, catchphrases and skits to carry it through.

However, there are plenty of pleasures, if also some sadness in seeing Joan Sims take a back seat to the younger glamour girls, becoming the "old bag" before Sid's very eyes. Rothwell, instead of raiding his bag of old chestnuts, comes up with some lovely fresh ones such as Judge Burke assuring Knutt that some of his best friends were lynched- "there ain't no stigma to it out here".

Above all, though, this is where Sid decisively became the tentpole of the series-- in Cleo he had still contested with Williams for the limelight.

Like the best screen comedians and horror stars such as Karloff, Sid can command attention without being varied in his parts or versatile in his effects; he is a very limited actor who can make his repeated schticks and tricks funnier and funnier with repetition. He is the British cinema's Lord of Misrule; it's impossible to imagine that ageing, knowing rogue playing a depressed type, failing to lift a film or not cheering up an audience. He is a life force, and when he accepted he was too old to chase skirt on the Carry Ons, they could never be the same again.