Os Apuros de Cleópatra

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.

What was more deserving in its day of being given a glorious sendup than the monumental production of "Cleopatra" with Liz and Dick's on- and off-set romantic interludes, so fulsomely (and scandalously - Can you believe it?!?) documented in worldwide tabloids?

20th-Century Fox rather carelessly left behind some quite elaborate sets at Pinewood Studios when production on the first attempt to film this spectacular under the direction of Rouben Mamoulian had to be shut down and then abandoned in London, when Elizabeth Taylor experienced one of her many life-threatening illnesses. (Other IMDb-ers err in stating that the abandoned sets used were those from the Joseph L. Mankiewicz version filmed at Cinecitta in Rome and on various locations in Italy, Spain and Egypt.) When M-G-M finished production of "Ben-Hur" (1959) in Italy they prudently destroyed the massive sets to prevent those cleverly thrifty Italian producers of sword-and-sandal "epics" from taking advantage of the bounty left behind.

The "Carry On" series may not have translated all that well to American shores, but I recall standing in line in Westwood, California, to see "Carry On Nurse" and enjoyed several of the later productions in this lengthy British franchise of satirical and slapstick humor. They were great fun and the new DVD collection is no doubt worth the price for aficionados of the series.

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.

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.

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.