Arrête ton char Cléo

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 I make my way into nine of the Carry On movies, there seems to have been a sudden upswing since Cabby, Cruising and Regardless.

Spying and now this one, Carry On Cleo, are funny.

"Cleo" was all Williams as Ceasar. I don't think anyone else could have done that so-so line and made it funny. "Friends, Romans, . . I know that!"

Okay, Sid James and Kenneth Conner had a bit more material to work with here, namely plot and direction.

Direction would have helped more in earlier ones, such as Regardless and Nurse. I guess the history helped drive Carry On Cleo.

Upon seeing Cleo, I thought Barbara Windsor (whom I had only glimpsed for the first time just earlier when I watched Spying) was the Egyptian queen, and deduced, wow, she used alot of padding in her bra.

Now I read I was in error and it was Amanda Barrie as Cleo. I wonder if Windsor was offered the part of Cleo first?

That soothsayer. What a scene stealer and master at his craft that one was! I liked James and Conner here, but the Soothsayer was running with the movie from them all. Had he hung around, he would have shown Williams how to do it as well, no doubt.

Who was he? Jon Pertwee, Doctor Who #3.

No idea where Hattie Jacques would have fit in this tale. I haven't seen her now since Carry On Cabby. Look forward to what is left, with or without her.

Next up: Carry on Screaming! Heard it is a good one.

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.

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.

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"!