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

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.

As an American interested in British humor of all periods, I was fascinated to finally see some examples of the `Carry On' comedies, a beloved institution in England. The recent DVD releases are region 2 PAL format only, so they continue to be for the British market exclusively.

I believe these films were considered racy in their time, but are quaint indeed by today's standard. `Cheeky' is the best word I can think of to characterize them. I was familiar with Kenneth Williams and Sid James as voices on a couple of old `Round the Horn' radio shows I'd heard. They didn't look quite as I'd pictured them. The cast is colorful and likable, but the pace and form of the humor seem to me very English, or maybe more accurately, not very American. Sometimes the jokes make references that simply wouldn't register with Americans, and I can see why it was probably decided long ago that they wouldn't travel well. Still, if you are something of an Anglophile, and have seen and appreciated a great deal of British movies and television, as I have, you're likely to get the jokes.

One of the characters in `Carry On Cleo' is named `Hengist Pod,' and his wife's name is `Sena' – hence, `Sena Pod,' hardy-har! Now, I must have come across a hundred or more references to `senapod' in British comedies, and as an American, this was a great mystery to me. As far as I have been able to determine from countless sniggering references, a senapod was (is?) some sort of strong laxative. Ah, you saucy English and your beloved poo-poo humor!

Anyway, this is probably a good introduction to the `Carry On' films for the uninitiated, as it is colorfully filmed with lavish sets and costumes left over from the Burton/Taylor production of `Cleopatra.' In addition, as much of it is set in ancient Rome, it may not seem as provincially English to non-Britons as some of the others in the series. I was delighted to finally make the acquaintance of the `Carry On' films, and look forward to seeing more.

A pretty "unofficial" tale of the intrigues between Cleopatra, Julius Caesar and Marcus Antonius.

Hit-or-miss but frequently hilarious spoof of Joseph L. Mankiewicz' infamous super-epic "Cleopatra", that generates far more amusement than the original. The pace is hectic, the writing unusually clever and most of the actors caught somewhere near their best. Some dull spots, but the whole enterprise remains cheerful and sprightly.

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.

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.