Les aventures érotiques d'un chauffeur de taxi

What is to be said in the favour of Adventures of a Taxi Driver? Very little, it's sad to say. The film gives new meaning to the term second hand: it's a rip-off of the Robin Askwith Confessions series of sex comedies, which themselves were already sub-Carry On crossed with continental saucy fare. Taxi Driver also mixes in elements of Alfie (the direct to camera narration of the Lothario protagonist), On the Buses (the bickering family arguments) and British B movies of the early 60s involving petty crime. This wholesale appropriation of other people's ideas might be acceptable if they were used here with any skill or aplomb; as it is, the film is tedious, plot less, poorly directed and almost aggressively unfunny. It's attitude to women is dismissive and offensive, and even the usually charming Barry Evans - who made the infantile and racist sitcom Mind Your Language palatable - is heavy handed and dislikeable here.

The few pluses include good comic turns from Adrienne Posta and Diana Dors, a winsome performance from Marc Harrison as Evans' thieving brother and the chance to see, briefly, Stephan Lewis doing Blakey as a strip-show doorman. There's also some intriguing footage of mid-70s Soho which might be of value to social historians.

I suppose that the film does capture a certain mood of cultural desperation which clearly reigned in the UK at the time. Evans' sexual shennanigans seem like the last resort of a man with nothing else to do; the sexual revolution has failed to make life interesting, as people are just as boorish and neurotic and dumb as they ever were. Whether this is a real reflection of the times or merely the projection of the filmmakers' own limited intelligence and wit is a matter of conjecture, although the huge box office success of the film suggests that it did offer the film-going population something they could respond to.

Although the film is about sexual adventures, the sex scenes themselves are as sexy as bromide, with not a single moment of chemistry between Evans (who was gay in reality) and the various women he disrobes.

Problem with sex comedies is they are not sexy or funny. Most are cheaply made to make some easy cash. Of course before the internet these films had a captive market - men.

There are worse film than this - if you are British and over 50 you will see a few familiar faces.

The first in a series of abysmal Confessions-wannabes, the Adventures trilogy are sterile, desperately unfunny sex comedies, with horrendous direction and dire production values.

The first starred a miscast Barry Evans, trying hard to be laddish but drawing somewhat short. He's a sensitive chap, the sort that can tell "whether a bird's had a right good seeing-to the night before" and cheers himself up by "picking up a bit of crumpet." Evans's constant talking straight to camera is supposed to be endearing, but it's really just irritating. Christopher Neil's Bob West made this a more likeable trait in Adventures of a Private Eye, though it was toned down and notably dropped altogether for the third film in the franchise.

The series always goes farther than Confessions ever did, too. So that while Timmy Lea's escapades were really the next generation of Carry Ons with a few more boobs, the Adventures have a slightly nasty edge. After four weeks of watching Robin Askwith's rear end it's a shock to see Evans's and Neil's willy flapping all over the place, and the sex scenes are notably more graphic. In particular, a scene intimating a woman being penetrated by a snake lurches the film towards X-rated territory. Sex with animals seemed to be a particular preoccupation of the series, with the second sequel, Plumber's Mate, featuring a coupling with a mouse. Look out too for pathetically staged "squashed cat" scenario (cue man off camera making unconvincing "cat" noises), the nadir of Plumber's Mate, one of the most amateurish films I've ever seen.

On the subject of the sequels, Private Eye surprises by being halfway decent, though still cries out for incidental music to perk up the somewhat lifeless atmosphere. Even performing the theme song, Christopher Neil gives a zippy, amiable performance, something he was unable to do with the obnoxious character of Sid South in Plumber's Mate. One thing the series did bring to the proceedings was plots, so much so that Private Eye even largely forgets to put the sex into sex comedy. It takes away the nasty edge for once, and is more traditionally humorous. (Basically, it's got some jokes in it.)

But back to Taxi Driver, a picture that never gets started. The irksome theme tune is sung twice during the movie in a flagging bid to pep up proceedings, and five times as an instrumental. David Brierley (One of the K-9s from Doctor Who, no less!) provides an opening monologue, juxtaposing images of cab life with an upbeat narration. So then when he talks about the "gallant knights of the road", we see a cabbie flicking the v-sign, and so on. And on. And on. Like the rest of the films pace, it's a joke that wears thin after the first three seconds, and positively aches by being extended past its natural lifespan.

Transvestites, prostitutes and oral sex references, the weirdest thing about all this is that this sexist tripe was written by a woman.

Despite this being a real adventure, and a lot of Brit fun, especially when you have a very likable actor in it, this is of course, is just an excuse for a T and A romp. Yes it's a lot of saucy fun, and we know exactly where this film is heading or what kind of film it is, if good looking Evans is involved. The film has no plot, but some familiar faces, especially the very talented Judy Geeson, the girlfriend of Evans's friend. His home life is no picnic, his taxi, the only form of release, and sanctuary where we see him do a few dames, one an older, and hot one who gets locked outside her two story house, which ends with a very familiar clichéd scene in a bathtub, like those in the Confession's movies. It becomes quite a frustrating scene, rather than amusing. We also have a staged taxi hold up, that was a surprise I liked. Poor Evans does cop it, either from his nagging Mum who can't cook, and a harping girlfriend, any guy would righteously strangle. There are funny moments, the most humorous part is in it's starting, where the film takes digs at taxi drivers. One truly unforgivable, but cutely forgivable blooper was Evans ducking back into his taxi naked, after a close call at that married woman's house earlier, where he's in full view, of a female fuzz, walking towards him. Why do I like this bad movie? 1. The soundtrack, 2. The T and A aspect, and 3. Evans, a not so fortunate actor when measured against his talent, and tragically, his suspected murder. One scene, totally unwarranted, was the weird conversation, mostly on Judy's part, where Geeson's' boyfriend asks her to choose between him or her beloved Python. The end scene that marked the return of that sexy suicide jumper, provided the most memorable line. Just watch and enjoy.

I could not recommend this film, unless you are a fan of similarly-themed films of this period, such as 'Percy's Progress' and 'No Sex Please, We're British', and of course the 'Carry On' films, although this is on a par with the worst of them, not the best. It consisted mainly of Barry Evans (who had previously starred in 'Doctor in the House' and 'Doctor at Large') having meaningless sexual encounters with a number of women, and walking around with his tackle out.

It is generally believed that Barry Evans appeared in this film to rid himself of his wholesome 'Doctor' image. He never really succeeded (he was later cast as the straight-laced English teacher in 'Mind Your Language'). This film would not appeal to his mainstream fans, and its appeal as a tits-and-bums English film (if you like that sort of thing) is pretty low. It was dismal.