Carry on Cabby

The best so far, the situation is a taxi company, and we are back to B&W film, the colour and picture quality might be a problem but the acting and screenplay isn't. The abduction chase is very good.

Sid James leads again, with Hattie Jacques proving what a good actor she was taking second billing, Kenneth Connor was third again, Liz Fraser provides the glamour again, but not with Dilys Laye, her place is taken by the equally stunning Amanda Barrie, for more glamour were the other 'Glam Cab' drivers but they were uncredited, the only one of note was Valerie Van Ost, who did 3 more, but all bit roles. Again some of the usual Carry On team are not in it, Kenneth Williams who did the most is not in this one, also Joan Sims but Charles Hawtrey is back and also Bill Owen, this was Bill's last Carry On but it did not affect his career, he went on to do many more roles and became famous in older life as Compo in 'Last of The Summer Wine', which was his last role, in fact his last few shows did not go out until after he had passed away, so 'proving the adage that "there is life after death" in 1999 aged 85. It was also Esma Cannon's last Carry On, she only did 3 but her presence made it seem like it was more, the "Mad Pixie" as Sid James called her did one more more small role before retiring and passed away in 1972 aged 66 in France. Charles Hawtrey was in it as was Cyril Chamberlain (Cyril plays his last proper role), and a new team member is Jim Dale, but he didn't know it at the time, he just got a bit role in this, also another new one was Peter Gilmore, not as high profile as Jim, but he did do a good few Carry-On's, a versatile actor.

But all in all the best so far so I gave it an Eight, despite that it was in B&W (the last one was in colour it would be a little while before the next one), the acting and direction was spot on though.

This is a really heart warming flick with a cracking story. Sure, the gags are there, but they are not the forefront of the film.

James and Jacques have rarely been in finer form, and manage to construct some very poignant scenes. Amanda Barrie is absolutely drop dead gorgeous.

Perhaps most overlooked, this film has one of the loveliest scores of all the Carry Ons, and makes use of some lovely arrangements.

Definitely a must see if you like the genre.

Well almost! There is a real battle of the sexes in this carry on and if you don't mind the expression the women come out on top. This is not a very funny carry on, in fact quite the contrary. There are moments that are actually quite touching. THe marriage between Hatti and husband Sid is a troubled one and its nece to see real character development. Its actually quite poignant. Hatti is playing for truth rather than being cast as the fat funny lady.The climax of the movie when all the cabs start chasing the bad guys who are abducting Hatti Jacques and Liz Frazer is actually very exciting. Those taxis and other "relics" of the time look wonderfully nostalgic. The interior sets look cute too and its all in glorious black and white. The music is wonderful and the script is character driven but still has a strong story line. Although it may not be very funny it is extremely entertaining and its a fine movie. The script is excellent and the characters are beautifully developed. This is a good story. We are given a break from the fabulous Kenneth Williams but there is plenty of talent. Great to see Hatti Jacques get more to do and she gives a brilliant performance. The ever reliable Liz Fraser does great work too. Sid James is wonderful in this role and its easy to see why he became so popular. Jim Dale in a small role is great and later its interesting that he became so sexy. Charles Hawtry is in fine form and the normally annoying Kenneth Connor gives his best under stated performance without the annoying mannerisms that detracted from many of the carry on movies. Esma Cannon plays it quite straight for a change and as always still steals every scene she is in. The real star of this is Hatti Jacques who really makes this fine movie a totally enjoyable experience.

Sid James plays Charlie Hawkins, workaholic owner of Speedee Taxis, the only cab firm in town. After repeatedly ignoring his long-suffering wife Peg (Hattie Jacques) in favour of picking up fares, Charlie finds himself unexpectedly facing competition from his miffed spouse, who secretly sets up rival taxi company GlamCabs, featuring all female drivers.

From the above synopsis, one might think that this film intends to strike a blow or two for feminism, but this being a Carry On film from the early sixties, it quickly becomes apparent that fighting for sexual equality isn't the film's primary motive. With GlamCabs only employing women with an hour-glass figure and a cracking sets of pins, the film's 'battle of the sexes' plot is actually a thinly veiled excuse to fill the screen with cracking crumpet.

Not that I'm complaining: the leggy lovelies, whose number include the fabulous Amanda Barrie (who would go on to star as Queen Cleopatra in Carry On Cleo), not only provide viewers with quality eye-candy (especially in the scene where Kenneth Connor, disguised as a woman, is ushered into the ladies changing room), but also plenty of laughs as they use their impressive womanly attributes to steal Hawkin's business.

6.5 out of 10, rounded up to 7 for IMDb.

I write this exactly 60 years on from this film being made. The version of the UK it portrays is long gone, manners and behaviours have changed significantly and the monocultural nature is now morphing into something altogether new. In that respect the film is a nice view of a slightly idealised version of what life was like for ordinary people back then. As such one can enjoy it and, be amused, as it's as much historical relic as old fashioned comedy. The characters are the usual mix of caricatures, stereotypes and archetypes, each instantly recognisable, places are middle England and there is very subtle social commentary on the ex forces types being down at heel and needing a leg up.

The world of equality and sixties swinging was fast heading over the hill. This and many other films of the era marked the beginning of the end of the post war society and the emergence of the modern era that fought its way out of the shadows during the 70s.