Cor, Blimey!

We know that many of the actors in the long running Carry On series had personal problems - perhaps this is why they were so funny and we laughed with them not at them. This film could have only been made by people with a deep affection for the Carry On films and the actors involved. Don't expect an air brushing of history to pretend all the Carry On actors were perfect. Also this is only an interpretation of the events and characters and does not purport to be autobiographical. It is both very funny and also very sad - the two masks of comedy and tragedy. The impersonations are extremely good. The fact that Barbara Windsor was willing to take part must at least indicate approval from one Carry On cast member.

Almost every bit as saucy, bawdy and occasionally seedy as the "Carry On" movies themselves, this warts and all encapsulation of the doomed relationship between older man Sid James and bright young thing Barbara Windsor provided captivating entertainment. Commencing brightly and convincingly with some cute camera perspective tricks, perhaps demonstrating the illusory and ultimately false world of entertainment and entertainers, the story contains just about the right mix of drama, pathos and humour throughout, helped by convincing portrayals of almost all the leading players, themselves so familiar to a generation of us who can still hardly turn on the TV here without one of the series beaming out at you (my personal favourite? - "Carry on Cowboy"!).

Although concentrating naturally on the James/Windsor axis, (to the exclusion of both protagonists' spouses), the third side of their love triangle turns out surprisingly to be the acerbic, extrovert but ultimately self-loathing Kenneth Williams, acting as a lightning-rod to James' adulterous excesses (which seemed to extend to bedding every available young female on set) and comforting-board to Windsor as she agonises whether to give in firstly to his physical desire and then later emotional need for her. It's impossible of course to know the full extent of the emotional complexities of this troubled group of actors, besides the accurate extensions of their obvious on-screen personas, but given that Ms Windsor was on board here as a consultant and contributed a cameo piece as herself, I'm prepared to accept what I saw as true-to-life.

One or two James fans might demur at his portrayal as a serial philanderer but I still found his lovable rogue depiction sympathetic. The acting is universally excellent, all the leads capturing the trademark vocal and physical characteristics of their precedents (as indeed is the case with minor characters too) and it was fun to see accurate on-set recreations of famous "Carry On" scenes, including Windor's famous bikini-bursting scene from "Carry on Camping". The dialogue throughout was natural and seemed to me wholly in character, with many witty aphorisms especially, as you'd expect, from the Kenneth Williams character.

All in all, a convincing insight into the lives and far from starry lifestyles of UK national acting treasures and a worthy celebration of a long-standing British cinematic institution.

In the U.S. in the 60's and into the early 70's the 'Carry On' films were telecast as Late - or more usually, as Late, Late Shows: in the age before wall-to-wall content/media these films were, in the States, filler fare - almost throwaways, because it's likely that U.S. distributors didn't, or couldn't, demand or get great sums for the 'Carry On' films from broadcasters who used them to flesh-out (pun definitely and cheekily intended!) their late-night schedules. But whenever a 'Carry On' film aired I did my best to see and enjoy it - there's just something so utterly and unselfconsciously charming about them that made them irresistible to me. (My favorite, by the way, is 'Carry On, Sergeant,' because it features the brilliant, and under-appreciated - at least on this side of the Pond, William Hartnell.) The 'Carry On' films are from a time when good, clean fun could be and was enjoyed, a time before the soul-corroding rubbish of political correctness and the supercilious hypersensitivity with which it burdened life in all of its dimensions except for the realm of the individual's soul, hadn't yet begun to darken everyone's doorway and to dumb-down and dull to death what now passes for education, newspapers, and television and theatre; it was also a time before we let our children be soaked in the properly adult matters of sex and sexuality - and yet even children could and did enjoy the 'Carry On' series. It was a time in which harmless titillation and suggestiveness allowed viewers' imaginations to do their own good and joyous work; it was nothing like nowadays when the Beeb, and much of Hollywood, vomits monotonously nothing but dull Orwellian multi-culti preachiness and strictures - which are far worse than "liberal" and "progressive" critics of the foregoing vibrant and delectable "monoculture" have had the imagination to have yet grasped (heaven forfend that anyone should scandalize a Mohammedan or offend another nunnish radical feminist to anguished despond and spitefulness). It was the existence of the now dead and late lamented, at least by me, monoculture's healthful customs and manners that made the Carry On films the widely enjoyed success that they were; nowadays, with the so-called barriers to everything and anything (except, obviously, to genuineness and to the decency which it begets and widespreads) having been demolished, and all babies having been thrown out with the bath water of the monoculture's supposedly unique and malicious "Eurocentric" hypocrisy, the consequent lack of spontaneity and decency have yielded nothing but Orwellian dullness and monotony which the monoculture's detractors had supposed themselves to be gloriously relieving us of. It was the existence of sound rules and healthful customs that made funny business funny; now that all those old rules have gone, the lack of rules and "barriers" (except, of course, those prescribed for us by our self-vaunted "correct" elites who have replaced the people we once knew to be our betters) has rendered nothing funny and everything grim and seedy and contentious - 'Much Ado About Nothing' indeed.

U.S. 'Carry On' film fans saw very little of the UK publicity for, or British gossip sheets' focus on, the 'Carry On' cast members, so I ought to take 'Cor, Blimey!'s' account of the James-Windsor affair with a large grain of salt; and comments made by Britons here on IMDb, having pointed out the film's taken licenses and liberties, I feel that grain of salt is a proper one to take. It was filmed on a very low budget as its resort to extant, ready-to-hand cinema sets, props, and costumes testifies amply; and yet, like the 'Carry On' films themselves, 'Cor, Blimey!' has its own irresistible charms because it's well-cast, well-played and, almost throughout, astutely written from an ear finely attuned to the sensibilities of its period and the milieu in which James and Windsor carried on their affair. Despite its lackluster editing and somewhat muddy soundtrack, I enjoyed it immensely, and so with great enthusiasm I recommend 'Cor, Blimey!' to everyone who's ever enjoyed - even secretly lest they dread to suffer accusation of deserving to belong to the vulgar mass or, perhaps worse, to one or another of the so-called "Oppressor classes" - a good old, pull-the-bung-out (but only halfway, because it's always far funnier when your imagination does the really funny work) hilarious 'Carry On' film.

Now, since "Vanity of vanities; all is vanity," let men go out and stare unselfconsciously at greater and lesser bosoms and let women giggle gleefully at the men making fools of themselves. Carry On, All!

Having just watched the film I have to agree in parts with the bottom two contributors in that the inaccuracies in the film are a let down. I sat there and laughed when they used Bresslaw in place of Scott for the Henry scene.

That said, what a superb film. Don't be fooled, as one of the other contributors said for Barbara Windsor to put herself in the film gives it an air of accuracy.

It is a homage to those characters it portrays. Too often a film biopic will show someone completely different to the truth. This film gave it warts and all. Superbly acted by the front three and a game of spot the carry on stars throughout. I'd echo a shame that it couldn't show some of the other principle characters in depth but I suppose when you've got ninety minutes you go with what you can.

Very amusing to see the Goldfinger characters, in particular as Shirley Eaton had been a carry on actress.

You could only feel despair for Williams, a tortured soul hiding behind a screen of caustic veneer. Sid James character starts as a dirty old man who it soon shows as someone of very little repertoire other than the same parlour trick to seduce. The caravan incident is straight out of Carry On although I think the connotations of Ronnie Knights hard-man are far too camp and weak.

Overall though, massively enjoyable. Those who found this disturbing should take off those rose tinted glasses.

I really enjoyed this film, and whether it is truth or fiction, it's a good watch as the cast selection is brilliant. It does portray some of the darker aspects of both James' and Williams' persona's but who's to say they weren't like that. The previous comment states that Sid was a loving husband, the film never says he wasn't, in fact the film states on more than one occasion that he does love his wife, but that doesn't mean he was faithful.

I love 'Carry On' films and have done since I was little and since Sid James died when I was 2, I don't remember any media about him or Barbara Windsor or Kenneth Williams. I don't know if this is truth or dirt-digging but that's no reason to write it off, and it's a good watch especially for the actors playing the roles so well.