Ehi Cesare, vai da Cleopatra? Hai chiuso...

A true classic.

Carry on Cleo is arguably one of the greatest of the Carry on films. It puts so many big budget films, notably Cleopatra, to shame.

It is a visual delight, admittedly it used the scenes from the bid budget flop, but I'd argue they made equally good use here. Awesome costumes, some truly incredible sets. However this film contains style, and substance.

Most of the regulars are here, notable faces missing include Barbara Windsor and Hattie Jacques.

Amanda Barrie gets her biggest Carry on role, she's excellent, and looks amazing, perhaps a more convincing Queen than Taylor was.

They're all amazing, but Kenneth Williams is truly at his best here, he is utterly hilarious, and perhaps gets the best of lines, who will ever forget Infamy, Infamy....

Well over half a century old, and still awesome. 9/10.

This is surely one of the most popular "Carry Ons", a spoof on the notoriously expensive CLEOPATRA (1963) and was in fact shot on abandoned sets built in London for that film! The cast is in top form here – Sidney James is Marc Antony, Kenneth Williams Julius Caesar, Joan Sims is Calpurnia (Caesar's wife), Charles Hatwrey Seneca (philosopher and Sims' father); Kenneth Connor (as Hengist Pod, the inventor of a square wheel and who eventually does a stint as Caesar's 'invincible' bodyguard) and Jim Dale are featured as early Britons; Amanda Barrie – who had previously appeared in CARRY ON CABBY (1963) – makes for a delightful Cleopatra.

Though emerging to be somewhat patchy considering its reputation, there are some undeniably uproarious moments throughout – the Roman soldier throwing a shield at Dale during a scuffle and hitting Connor squarely in the face; the famous carpet-rolling scene introducing Cleopatra in the 1963 Hollywood epic being directly lampooned here by having the Egyptian queen roll under a table replenished with food and spilling its contents onto herself and the floor; untrue to history, Antony connives with Cleopatra to murder Caesar and become Emperor himself – she suggests using a poisonous asp and hands him one from a basket, which he mistakes for a local delicacy and promptly bites off its head! Talbot Rothwell's script also includes a running gag involving the famous "Friends, Romans, Countrymen" Shakespearean speech, as well as an in-joke wherein a couple of traders merge their business – to be known from then on as "Marcus & Spencius"!

Looking back at the many ups and downs of the British Film Industry one clear period stands out as very firmly 'up'. This was during the reign of the 'Carry On' team at their peak. For a five year period (1963 - 1968) the team churned out a series of slickly produced genre parodies which, though often substituting authentic locations for a beach in Wales or a field in East Anglia, managed to upstage the Hollywood productions they were thumbing their noses at. 'Carry On Cleo' (1964) exemplifies this period and stands out as (some would argue) one of the greatest British films ever made. The usual cast is out in force, with only a couple of notable absences (i.e. Barbara Windsor), all delivering at the top of their form, and clearly revelling in the luxury of using the sets and props left over from Mankiewicz's megaproduction of 'Cleopatra' (1963). Sid James was never more ruggedly appealing than when suited in the white miniskirt and golden breast plate of Marc Anthony, he also gets to blast the immortal line "BLIMUS!!". Scriptwriting doesn't get any sharper, from start to finish Talbot Rothwell's script glitters. In the part of Cleopatra, Amanda Barrie gives us a good view of her ripples as she floats gracefully in asses milk. Whilst batting her extended eyelashes she asks "Do'st thou like what thou see'st?". Well I certainly do'st. The film is a pleasure to watch, there is never a dull moment as the plot flips furiously between the plight of the cowardly Hengist Pod and heroic Horsa escaping roman enslavement (Kenneth Connor & Jim Dale buckling a fine swash together), and the drama of Julius Caesar's last days of power (Kenneth Williams camping it up to the nines as usual). The story threads intertwine and build to a hilarious climactic chase scene involving a Shakespearian identity swap and a hulking Egyptian guard by the name of 'Sosages'. If contemporary British film-makers would return to taking the mickey instead of sitting passively in Hollywood's thrall, we might see a few more gems like this in the future.

Julius Cesar returns from his three-year campaign across Europe with his captured slaves to find a less than warm welcome awaits him. His wife is mad at him, the senate is plotting against him and a war between Cleopatra and a rival for control of Egypt. While Cesar and Mark Anthony try to keep control of Rome, they also must side with the beautiful Cleopatra.

Although it is true that Carry On films are an acquired taste and that some of the jokes will be lost to those not familiar with British gags and terms, it is still the case that the Carry On's can be very funny if you get them and they hit the mark. Cleo is yet another example of what made the Carry On movies such a success; this is one of the better ones - plenty of good gags and fine actors to deliver them. The plot is good enough to hold the gags together but not good in the traditional sense - basically the gags are what drive the film rather than the plot!

And what good laughs there are to be had! The humour is innuendo based but is not as out and out crude as the series often could be. Even the slightly smutty jokes are pretty clever and witty; regardless of where you are from, there is enough laughs here to be worth watching. I won't start quoting lines simply because there are so many good ones - the second half is a little weaker than the first, but it is all still good stuff!

The cast are great despite missing a few of the regulars. The film's stand out performances are easily Williams and James. James is his usual self, regardless of historical setting but Williams is simply superb and makes his lines work better due to his delivery. He has most of the screen time and he makes the film. Barrie is not that good looking but she makes a good Cleopatra and she has a good body on her. Williams and Dale don't have that much to do but are still OK despite feeling supplemental to the action. Hawtrey is hilarious and Sims is OK.

Overall this is as good an example of the Carry On series as any other. It is smutty without being overly crude, with a good mix of sex jokes and witty puns and such. The plot holds the film together without being intrusive on the gags. A fine example of a series that could be as good as it could bad - here it is good.

Perhaps the best of the entire CARRY ON cycle, notable for its reuse of the sets and costumes originally conceived for Joseph L. Mankiewicz's monumental folly CLEOPPATRA (1963), CARRY ON CLEO contains its fair share of innuendo - so thick and intricate, in fact, that viewers can only tease out the brilliance of Talbot Rothwell's script after repeated viewings.

Yet perhaps uniquely among the cycle, this film contains memorable performances too. Amanda Barrie has never been more seductive as Cleopatra she she lolls in her bath of asses' milk tempting Mark Antony (Sidney James) to join her. She remains gloriously empty- headed when faced with any schemes to enact, but certainly knows how to deal with men, especially the duffer Julius Caesar (Kenneth Williams). It is only when she gives Briton Hengist Pod (Kenneth Connor) a love-potion, transforming him from a mouse into a sexual Lothario that she meets her match.

What perhaps distinguishes this film, however, is its metatheatrical awareness. Director Gerald Thomas makes no bones about tracing its origins in music-hall and variety; jokes are delivered as separate lines direct to camera with little concern for dramatic verisimilitude. The cast have no need to; they know that the viewers are waiting for the next innuendo, and they are prepared to glance briefly at the camera before delivering it, taking us into their confidence as they do so.

This makes for both a liberating yet a lasting experience; we feel that we are somehow complicit with the actors in a ritual that we all know and love. It doesn't really matter what the film's subject might be; as if going to pantomime or a variety show, we are there to see our favorite actors doing what they are best at, and participating in a community experience of cathartic laughter. It is this unique quality, shared only by a few films (others might include Abbott and Costello or the Marx Brothers) that invests them with their timeless qualities.