Displaying items by tag: Hattie Jacques

CARRY ON TEACHER

UK, 1959, 90 minutes, Black and white.

Kenneth Williams, Leslie Phillips, Kenneth Connor, Charles Hawtrey, Joan Sims, Hattie Jacques, Rosalind Knight, Cyril Chamberlain, Ted Ray, Richard O'Sullivan, Carol White.

Directed by Gerald Thomas.

The third in the Carry on series. With later developments, this is a very light entry into the series, almost G-rated, Norman Hudis, Talbot Rothwell taking over the writing in the early 60s..

The 1950s had seen the popularity of the St Trinians comedies in a girls school. Here is comedy and a boys school. The theme was to be taken up the next year in a rather broader style with Jimmy Edwards and Bottoms Up.

While Sid James was yet to come, the core group of Carry on is present here, the two Kenneth’s, Charles Hawtrey, Joan Sims and Hattie Jacques. Leslie Phillips appeared in a number of the Carry on films. Ted Ray is the principal of the school, Richard O’Sullivan the mischievous boy, aided by Carol White.

Ted Ray is the principal, wanting to retire, the cheeky boy, Richard O’Sullivan, overhearing, and planning all kinds of sabotage for the visit of an incoming principal played by Leslie Phillips, a psychologist spouting German and certainly no self awareness! Rosalind Knight plays his assistant.

It is mainly an opportunity for the core stars to do their thing, Charles Hawtrey composing and conducting a version of Romeo and Juliet, Kenneth Williams directing, Joan Sims is a sports mistress, Hattie Jacques very keen on the cane, Kenneth Connor as the science master. And some immediate infatuations between some staff and visitors. But, the revelation is a nine – the students upsetting the visitors so that they will not lose the headmaster they like!

A lot of slapstick, pratfalls, situations – and a reminder of British comedy in the 1950s. And, and anticipation of what was to come in the lengthy and popular series.

CARRY ON REGARDLESS

UK, 1961, 90 minutes, Black-and-white.

Sidney James, Kenneth Connor, Charles Hawtrey, Joan Sims, Kenneth Williams, Bill Owen, Liz Fraser, Terrence Longdon, Hattie Jacques, Esma Cannon, Sidney Tafler, Terrence Alexander, Stanley Unwin, Joan Hickson, Fenella Fielding, David Lodge.

Directed by Gerald Thomas.

The fifth film in the series, by now getting underway, and this film having most of the cast from the early films.

The screenplay was written by Norman Hudis who wrote the early screenplays before the transition to Talbot Rothwell who wrote most of the subsequent Carry on films. This one is very straightforward. Sidney James and Esma Cannon run the Helping Hand agency, ready to help out in any emergency. Meanwhile, at the labour exchange, there are a whole lot of characters looking for jobs and who descend on the agency – at one stage, in a scene at the agency, nine of the popular members of the cast are all assembled in the one room.

There is no plot as such. Rather, the film is a succession of farcical episodes, slapstick comedy, each of the new members of the agency going out on jobs and generally mucking them up. And, for a variation, in the last part of the film they go to a mixup of addresses, again with some disastrous results. And finally, their gobbledygook-speaking landlord, Stanley Unwin, interpreted by Kenneth Williams’ character who speaks 16 languages! indicates that he wants the premises renovated. Needless to say, they all help but create disasters, only to find that with all the mess that they have made, it will be all right because the landlord has decided to demolish the building.

Not so much innuendo in this particular version – though, Liz Fraser does offer an opportunity for some sex comedy. And, it is interesting to see Sid James in a fairly straightforward role. And, it is a pleasure to see most of the members of the staff as well as a number of supporting British character actors who appeared in a number of films in the series.

CARRY ON CONSTABLE

UK, 1960, 86 minutes, Black and white.

Sid James, Kenneth Williams, Eric Barker, Kenneth Connor, Charles Hawtrey, Leslie Phillips, Joan Sims, Hattie Jacques, Shirley Eaton, Cyril Chamberlain, Joan Hickson, Irene Handl, Esma Cannon, Terence Longden, Jill Adams, Victor Maddern.

Directed by Gerald Thomas.

One of the earliest of the Carry on series, two years after it began, the atmosphere of British filmmaking in 1960, popular comedy, the transition to the more permissive 1960s. In the retrospect of the later films, Carry on Constable seems comparatively innocent certainly some sexual references, some shower and bathroom scenes, some ogling by the male stars but, in comparison with later films, rather more of the light touch.

In fact, the film was written by the writer of the earlier Carry on films, Norman Hudis. Then there was a transition to Talbot Rothwell who scripted most of the Carry on films, more explicit with sexual themes, a great deal of innuendo.

This was the first Carry on film with Sid James, rather more straightforward role, sometimes sympathetic, but he was to develop into the chuckling lecherer during the 60s and 70s. But, it is pleasing to see so many of the regulars in this film, the two Kenneths and Charles Hawtrey, much more explicitly gay in this film than later, especially with the cross dressing of Kenneth Williams and Hawtrey, Hawtrey even passing passably for female.

Joan Sims and Hattie Jacques are happily present and there are a whole number of guest female stars, young like Shirley Eaton, three years before Goldfinger, and Jill Adams, and veterans like Esme Canon as a deaf old lady trying to cross the road, Irene Handl erupting about a misbehaving boy, and, especially, two scenes with Joan Hickson as an aristocratic alcoholic showing her as an excellent comedienne as well as dramatic actress, later Miss Marple.

Eric Barker, doing his usual shtick as a befuddled authority, is in charge of the police station and employing four new recruits, the two Kenneths, Charles Hawtrey and, appearing in several of the Carry on films, Leslie Phillips.

A whole lot of farcical situations in the office and a succession of muddled police activity with special sequences for each of the four, their own kind of comedy which was to develop during the success of films.

Popular and easy humour, easy to watch.

CARRY ON NURSE

UK, 1959, 86 minutes, Black-and-white.

Kenneth Connor, Kenneth Williams, Charles Hawtrey, Hattie Jacques, Joan Sims, Wilfrid Hyde White, Shirley Eaton, Terrence Longden, Bill Owen, Leslie Phillips, Susan Stephen, Susan Beaumont, Ann Firbank, Joan Hickson, Michael Medwin, Rosalind Knight, Norman Rossington, Jill Ireland, June Whitfield, Ed Devereaux, Susan Shaw, Irene Handl.

Directed by Gerald Thomas.

In retrospect, very much a film of its time, British comedy in the late 1950s, beginning the transition to explicit comedy, still a lot of innuendo but also a great number of ogling male characters.

This is the second of the Carry on series, beginning with Carry on Sergeant. Sid James, a staple of so many of the later films, had not yet joined the cast. However, a great number of the continuing cast appear here, most of the men spending their time as patients in the hospital ward. The women are nurses or visiting their husbands and boyfriends.

Hattie Jacques begins her several appearances as matron, Joan Hickson as a rather strict numbers (anticipating Miss Marple), Shirley Eaton, five years before Goldfinger, leads the nursing staff, and Joan Sims, the most regular of Carry on characters appears for the first time. There are some guest appearances by Wilfrid Hyde White and Michael Medwin. And there are some amusing cameos by various British character actors including Bill Owen, a myopic Rosalind Knight, Irene Handl and an early appearance by Jill Ireland.

While Kenneth Williams is more subdued, less facial idiosyncrasies, he plays the superior patient, interested in studying, until, at the end, the men in the ward, with drink and laughing gas, trying to remove a bunion on Leslie Phillips‘ foot, Kenneth Williams in charge of surgery. Kenneth Connor, always plays quite a different role in each film and here he is a boxer.

A lot of the verbal humour, a lot of expected hospitals shenanigans in the ward, innuendo, the 1950s British male gaze – and seeming very much more slight and innocent the later developments in the Carry on series.

CARRY ON MATRON

UK, 1972, 88 minutes, Colour.

Hattie Jacques, Sidney James, Kenneth Williams, Kenneth Connor, Joan Sims, Bernard Bresslaw, Bill Maynard, Kenneth Cope, Barbara Windsor, Terry Scott, Charles Hawtrey, Patsy Rowlands.

Directed by Gerald Thomas.

Before this episode in the medical Carry on comedies, Nurse, Doctor, Doctor again. And, by this time, the Carry on films had been carrying on for 14 years. Most of the regular cast appear in this film.

There is a story of the  hospital, Finisham, with wards named Bunn and Oven. And, there a place on the title at the opening, From Here to Maternity, Womb with a View…

Hattie Jacques, once again, is matron, sympathetic if dominating, but infatuated with the head of the hospital, Sir Bernard Cutting, once again Kenneth Williams doing his shtick, hypochondriac, fearing that he was having a sex change, pursued by the matron.

And there is something of a plot, Sid James leading a gang of crooks, including Bernard Briesslaw and Bill Maynard with Sid James’s son, Kenneth Cope, having to disguise himself as a trainee nurse, infiltrate the hospital and get the plans for where the contraceptive pills are stored so that the gang could steal them and sell them. So, lots of comedy with Cyril, the son, dressed as a nurse, sharing a room with Barbara Windsor, becoming a sensation in helping to deliver triplets in an ambulance! And, the intensity of the robbery, disguises, misadventures, and, ultimately, a gathering in some panic, everybody involved at the hospital.

Kenneth Connor, is able to create another character, a railway man waiting long hours for his pregnant wife to give birth, Joan Sims as the wife, seen continually eating hefty helpings and capitalising on the free meals. There is Terry Scott as a doctor with his eyes on the ladies. And Charles Hawtrey is able to do his shtick as a psychiatrist on the hospital staff, clashing with Kenneth Williams.

Lots of puns, lots of innuendo, some titillation, some slapstick, a typical Carry on comedy.

CARRY ON CAMPING

UK, 1969, 88 minutes, Colour.

Sid James, Kenneth Williams, Charles Hawtrey, Joan Sims, Terry Scott, Barbara Windsor, Hattie Jacques, Bernard Bresslaw, Julian Holloway, Dilys Laye, Peter Butterworth, Betty Marsden, Trisha Noble.

Directed by Gerald Thomas.

By this time, the Carry On series had been going for over a decade, with small black and white, it is to cover comedies and strong popularity, not only in the UK but overseas – but, not so much in the United States.

A great number of bloggers on the IMDb considered as one of the best of the Carry on series.

For this reviewer, it seemed one of the weakest. It is 1969, the film opens with an extensive coverage of a nudist film, something of a breakthrough for mainstream films in the late 1960s (not a feature of popular comedies from the US). It is take for granted that there will be sex jokes and references, innuendo, objects recycled, obvious is… And that is certainly the case here. However, this to be more of a leering turn their in many of the other films, Sid James being particularly ogling and leering here.

One of the advantages of the film is that so many of the regular cast are present. A very sympathetic presences, especially Joan Sims and Bernard Breslau (always putting his foot in it as since good friend). And, there is the young Barbara Windsor – exactly and inhibited presence on screen. Hattie Jacques is serious, even in a comedy and Kenneth Williams is always himself. Many might find Charles Hawtrey very irritating this time round and there are troubles between Terry Scott Betty Marston as his non-listening falling wife.

It would be interesting to see a feminist review of Carry on Camping and its presentation of the objectification of women, especially young women, this comedy presentation of the male gaze with Sid James’s line: what are the young women always there where I’m staring!

And, with the ending the people gathering for music Festival, remembering that 1969 was the year of Woodstock – although the oldies and regulars from the Carry on films are against the festival and oust everyone.

CARRY ON SERGEANT

UK, 1958, 84 minutes, Black-and-white.

William Hartnell, Shirley Eaton, Bob Monkhouse, Eric Barker, Dora Bryan, Bill Owen, Charles Hawtrey, Kenneth Connor, Kenneth Williams, Terrence Longden, Norman Rossington, Hattie Jacques, Terry Scott, Ed Devereaux.

Directed by Gerald Thomas.

The first of the Carry on films which were to continue into the 60s and 70s, all of them directed by Gerald Thomas. This film was typical enough of the comedy of the 1950s, a focus on the military, a group of national service for 10 weeks training, a motley and comical group, as well as a focus on the sergeant who wants to win an award for the best company, his corporal assistant and the commanding officer. Very much focus on the male characters.

However, Shirley Eaton, some years before Goldfinger, is the just married wife of one of the recruits, Bob Monkhouse, and Dora Bryan does her usual comic thing as a rather flighty cook.

In many ways, this is a straightforward British comedy, a basis for the future Carry on films, but very different from the jokey, sometimes a leering style of the subsequent films. (Comparison can be made with Operation Bullshine of 1959, the army, much more in the vein of the later Carry on films.)

Which means that this film is enjoyable for audiences of British comedy of the 1950s.

Interestingly, in view of the later Carry on films, the first list of cast seen in the opening credits highlights stars who were not regulars in most of the Carry on films (William Hartnell as the sergeant having top billing, Eric Barker, in some of the films, as the commander and the later top-rated billing of Bob Monkhouse). Then, the next list has the regulars who are there right from the beginning, Kenneth Connor, Kenneth Williams, Charles Hawtrey, then Hattie Jacques and even a glimpse at the beginning of Terry Scott, conversing with Ed Devereaux.

Kenneth Connor is an extreme hypochondriac, Hattie Jacques the doctor, Charles Hawtrey as usual, but enjoyable to see Kenneth Williams as an intellectual soldier, helping others, but his usual speaking style.

No Sid James until the third Carry on film. No Joan Sims, but she appeared in the next one.

For fans of the Carry on series, instructive and perhaps surprisingly enjoyable, especially with its reticence, reminding us how the series began.

CARRY ON CABBY

UK, 1963, 91 minutes, Black-and-white.

Sidney James, Hattie Jacques, Kenneth Connor, Charles Hawtrey, Esma Cannon, Liz Fraser, Bill Owen, Milo O'Shea, Judith Furse, René Houston, Jim Dale, Amanda Barrie, Norman Chappell.

Directed by Gerald Thomas.

Not originally intended as a Carry on comedy. It was Called Me a Cab, written by Sid Green and Dick Hills, writers for the comedy team of Morecombe and Wise. But, with the popularity of the Carry on series, regular writer, Talbot Rothwell adapted it.

This means there are two different features for this Carry on comedy. There is far more plot and character development and interaction. And, the film relies far less on sexual references and jokes and innuendo. In fact, Sid James, apart from being a workaholic taxi driver and neglecting his wife, is quite respectable.

The film also acknowledges support from the taxi companies in London. And, with many variations on the theme, it shows how significant taxis can be.

Sid James loves driving taxis, worked with his partner, played in his usual way by Kenneth Connor (who does have to dress up as a female taxi driver at one stage). And Sid James is married to Hattie Jacques. The comment is that she thinks this is the best of her Carry on films – and, she is at her best, creating a character, a greater range of emotions than a stern matron! Charles Hawtrey does his usual simple-minded shtick. But, there is the advantage of Milo O’Shea as a taxidriver in an early role, veteran Esma Cannon, Liz Fraser, and introducing to the series, Jim Dale as a frantic father and Amanda Barrie.

When Sid James is caught up in taxi problems and neglects his wife’s anniversary celebrations, she decides to set up a rival company, not letting him know. She buys many taxis, gets glamorous drivers, is able to steal his clientele, with digs at ogling males. So, plenty of shenanigans. But, when the Glam firm is so successful, Sid James has to use his wits to bring down the company.

So, a lot of comedy, some slapstick, some tense situations, and the good idea of having some robbers hijack Hattie Jacques’s car and everybody then in on the act to track the robbers with the whole taxi fleet.

Enjoyable, British filmmaking in the 1960s, and the most PG rated of all the Carry on films!

WATCH YOUR STERN

UK, 1960, 90 minutes, Black-and-white.

Kenneth Connor, Eric Barker, Leslie Phillips, Joan Sims, Noel Purcell, Hattie Jacques, Spike Milligan, Eric Sykes, Sid James, David Lodge, Victor Maddern, Ed Devereux.

Directed by Gerald Thomas.

Very much a comedy from the British past, especially around 1960. The late 50s saw the beginning of the Carry On franchise, 17 movies and television program as well as documentaries. And, there is the big cast of British comedy actors who continually appeared in the Carry On series.

And the Carry on films were directed by Gerald Thomas. And, he is the director of Watch Your Stern. And several of the Carry On stars appear here, the film as a star vehicle for regular Kenneth Connor, some prominence for Joan Sims, bumptious comedy role again for Hattie Jacques, and a rather more serious cameo for Sid James including having a beard. And one of the pleasures is to see Eric Sykes and Spike Milligan in cameo roles as electricians, Spike Milligan doing an Indian accent – and very popular with The Goon Show during these years. Australian Ed Devereux, working in British films at this time appears as an American!

The film starts momentarily seriously, the launching of an experimental torpedo by the Navy – but, then its getting out of control and boomeranging back to destroy the ship!

The action takes place more or less over the next 24 hours, and a poking fun at some of the Navy personnel and their limitations. (At the same time, the comedy On the Fiddle, with Alfred Lynch and Sean Connery, set during the war, pokes fun at a lot of the ineptitudes in connection with the RAF.)

Eric Barker maintains his seriousness as the less than efficient captain of the ship, relying on his second in command, Leslie Phillips in a typical role. And, on board, is one of the ratings who has a great knowledge of electronics and its vocabulary, Blissworth, Kenneth Connor’s character.

Blissworth seems to be in and out of the captain’s office all the time, but with many mishaps, especially the burning of the main copy of the plans for the torpedo. The only other copy is with the American visitor – and Blissworth having to chase him on a bicycle, accidentally knocking over the Admiral, not allowed to enter the train because of security reasons…

The main part of the film is having Blissworth do two impersonations of an expert being interviewed by the Admiral. The first is as a Scottish scientist, with a beard, care of some of the facial hair taken from Sid James’ character. And, fortunately, the Captain’s sister, played nicely by Joan Sims, is preparing the Navy concert and is able to do make up and costuming.

Noel Purcell is the blustering Admiral, suspicious of the Scottish expert (who looks like the later Scots actor, Brian Cox). Lots of comedy in his explanations. But, then it appears that the expert they were expecting is actually woman, Hattie Jacques. Which means that Blissworth has to be made up as a woman, the admiral very flirtatious.

So, how could it possibly end? In fact with Blissworth making a comment about the technology and the expert appreciating his advice, their working together, and a finale with the torpedo being fired again… and.

This is more straightforward comedy, especially compared with the satire and innuendo of the Carry On series – and, while this series was popular, this kind of comedy had a wider appeal.

SHE'LL HAVE TO GO

UK, 1962, 89 minutes, Black-and-white.

Bob Monkhouse, Alfred Marks, Hattie Jacques, Anna Karina, Dennis Lotis, Graham Stark, Clive Dunn, Hugh Lloyd, Peter Butterworth.

Directed by Robert Asher.

A very broad British farcical comedy, based on a play, typical of popular comedies in Britain in the early 1960s – and, with some of the humour that characterises the Carry On comedies.

Bob Monkhouse was a popular film and television personality, Alfred Marks more serious. The Carry On the connection can be seen with the presence of Hattie Jacques, much more dominating and posh as an intrusive journalist. A number of popular British comedians of the time have comedy cameos, Graham Stark, before the Pink Panther films, as the journalist’s cameraman, Clive Dunn as a bumbling chemist, Hugh Lloyd as a pompous lawyer, Peter Butterworth as a shortsighted doctor getting himself into tangles.

However, the surprise for many cineastes who come across this comedy is the presence of Anna Karina, the Danish born actress who appeared in films for many decades, a variety of films in the UK, US, European countries – but is still best known as the wife of Jean-Luc Godard in the 1960s and starred in a number of his memorable films of the 1960s. Most would not associate her with this kind of British comedy.

Two brothers, novelists, live in a mansion, little income, manservant played by Dennis Lotis, getting news that a remote cousin was going to inherit the house and probably oust them. The title indicates the tone of the film, the option of marrying her and retaining the money or of murdering her. Which means there are some romantic scenes and several attempts on her life. She arrives, charms the journalist, charms the man servant, escapes all the attempts on her life, then turns the tables on them.

A great number of farcical situations, puns and quips, exaggerations all round. Nowadays mainly for film historians.