Carry On Up the Jungle (1970)

 "Game?"

"Any time, if you are."

This is... well, there are some good one liners, the cast is good as ever (although Kenneth Williams is glaringly absent)... but, well, it's hardly the best of the series.

Why? Well, there are the moments that make one wince- Bernard Bresslaw in blackface, the jokes about the "natives"- but this is a Carry On film from 1970 set in deepest Africa: such things are priced in.

Then there's the obvious cheapness. This is set in Africa yet clearly shot on a set in Hertfordshire, so much so that it feels almost claustrophobic at times. There are various lions, elephants and giraffes... all of them very obviously stock footage. If all of this were made into a joke, it would work... but breaking the fourth wall is not the Carry On style. Also, Terry Scott as Tarzan is... a courageous bit of casting, to put it mildly.

Perhaps I'm being a little harsh here? After all, the Carry Ons are coming off a run of very strong films, but might that be the problem? Is Carry On Up the Khyber going to prove impossible to top? I suppose the script and performances are as good as ever here, and it's certainly good to have Frankie Howerd again after all this time. But this film just feels... well, cheap.

Carry On Camping (1969)

 "Do you know, she's been showing me how to stick the pole up!"

It's back to the contemporary world of 1969 after all of the recent historical action, and another one of the best Carry Ons here- much though the setting really does give us a proper little time capsule anda reminder of how different we were as a country backin 1969.

It can't be denied, though- the humour is great here. The gag with Mr Fiddler and the sign at the entrance to the campis simply inspired. And all the regulars are in fine form here, with the addition of the wonderful Betty Marsden, who is hilarious (as a character called Harriet Potter!) and has superb comic chemistry with Terry Scott. The dynamic from Carry On Doctor between Kenneth Williams and Hattie Jacques is revived here... even revealing that this is the exact same Matron, in a nice little breaking of the fourth wall.

But my God... it was such a different time. Wearing a suit to the cinema. The older generation still insisting on no sex before marriage despite the fact that, now that it's the '60s and the pill exists, this shows a rather irresponsible and cavalier attitude to getting married. City gents with bowler hats. Hippies!

Most of all, though, the blokes' perving attitude to sex now... aspecially the eponymous Sid and Bernie, both clearly midde aged, lusting after presumably teenage pupils of a finishing school, which is rather icky, to say the least. Then there's Peter, the hen pecked husband, who discovers at the end that the answer to his problems is to give Harriet a damn good seeing to, after which he seems to be in charge. Yep. It was a very different time.

No denying it, though- this film is very, very funny.

Hawk the Slayer (1980)

"I'd sooner eat cow dung.

Oh my. What did I just watch? 

I absolutely adored this movie. I mean, yet again, I make no bones about the fact that it is, let's face it, very much in the "so bad it's good" category. No camp humour here; the hilarity is not intentional.

And yet, as is often said, there's bad films and bad films. Some bad films can be highly entertaining: the real crime is to be boring, ad boring this is not. The action, melodrama and excitement never stops.

And yes, the acting is... shall we say, very B movie.But, yet again, it's hugely entertaining. I always enjoy a proper scenery chewing baddie, and Jack Palance really does chew the scenery with aplomb here as Voltan. Given the woodenness of John Terry as Hawk, he quite rightly gets top billing. 

But there's so much else to amuse and divert. There's Patricia Quinn's cyclopean sorceress, who is always rescuing our motley crew from their silly little escapades and is blatantly the only one of the goodies with any brains, yet is always addressed casually as "Woman"! There's the comic scenes between Bernard Bresslaw's giant and the dwarf. There's the actor spotting fun with all the many British character actors that briefly appear. There's the music, which falls slap bang in the middle of a genre that can only be described as "'80s sword and sorcery soundtrack". And, of course, there's the effects.

This film is a load of old tosh. It's also great.

Carry On Up the Khyber (1968)

 "For the last time, stop calling it a dangler!"

Sometimes conventional opinion is conventional for a reason, and I strongly suspect that's the case here. This is widely regarded as the best Carry On film. I've seen it a number of times during my youth, and always casually thought of it as the best. Having seen it again, now, as part of my slow journey through the Carry On films in order, that opinion is very much confirmed. Carry On Up the Khyber is absolutely superb, easily the best so far. Is this peak Carry On, then? Is it all downhill from here?

I should mention, of course, that there are things in this film- the brownface, the Indian and Afghan stereotypes- that, shall we say, have not aged well, and that there are certainly moments that make the viewer wince in 2025. The world of fifty-seven years ago now looks startlingly alien to our own... although, compared to MAGA morons, they seem positively progressive.

Those issues acknowledged, then, what makes this film so good? Well, firstly, the script is superb. The central conceit- that the security of British rule of the North-West frontier depends on the continued belief that the Third Foot and Mouth wear nothing beneath their kilts is inspired. The scene, towards the end, as Sir Sidney and the other senior British wallahs calmly eat dinner as the residency is attacked, is rightly acknowledged as perhaps the finest Carry On scene ever. But it's more than that. There's a lot of innuendo, and it's so witty. But the film is full of brilliant jokes, such as when the Khazi of Kalabar expresses annoyance at the beating of a gong- "Rank stupidity", indeed.

We also have the full core cast on top form here. Sid James and Kenneth Williams impress, of course. But Charles Hawtrey, too- having seemed to be sidelined in recent films, he's back, on top form, in a prominent role. Joan Sims and Bernard Bresslaw also stand out. But guest stars Roy Castle and Terry Scott are also superb.

I hope I'll see a better Carry On film as my marathon continues... but perhaps I should just hope to get as close as possible.

Carry On Doctor (1967)

 "Matron doesn't approve of banging in the ward..."

Agh. I hadn't seen this film for decades, but then last night I watched it... and suddenly it felt very familiar indeed. I suspect I've seen this Carry On more times than any other, albeit early in my life. And that probably shouldn't be surprising- it's one of the most highly regarded. But I probably enjoyed the film less than I should have done because of the memories flooding back as I watched it.

It's strange seeing this while watching all the films in order. After several films set in historical times and other places, here we are again in a contemporary British hospital, in a 1967 of the middle aged, rather different to the Summer of Love that was happening for a few rich young people. This is a time of strict matrons, the trope of the nagging wife, innuendo, "sex maniacs" and cold baths.

Indeed, this feels much like the earlier films in the series, including the style of the opening titles, which allude to Carry On Nurse. Yet we're much firmly into the more innuendo-based humour, with Barbara Windsor's, er, assets playing a large role.

The farcical, very silly plot, as well as some nicely witty lines, make this one of the better Carry Ons. I loved the Invisible Man gag. Frankie Howerd, in his Carry On debut, is excellent in a very prominent role, although the fact that the usual cast is very much present and correct means that some of the regulars are stretched quite thin. Charles Hawtrey, yet again, has a surprisingly small role- off-screen problems?

Excellent film. Although it has me wondering- at what point did we stop referring to "the National Health" and start calling it the NHS, colloquially?

Follow That Camel (1967)

 "The pill? What do you think they used that for?"

"I can't conceive."

Another Carry On film today, albeit the second of two instalments without the title... and, well, we're in the middle of the peak period here, and this one may possibly be the best yet. 

We have to wince a little at the portrayal of the Algerian characters and the use of brownface in particular, good though Bernard Bresslaw is as antagonist Abdul Abulbul, and all the dodgy Arab stereotypes are out in force. One of the funniest jokes is about suicide. As for the jokes about what happens to Jane when alone with various men, well...

It was 1967, a very different time. But crikey.

Yet this Carry On treatment of Beau Geste and the French Foreign Legion works well. Sid James is absent, but the one-off appearance of the very American and very funny Phil Silvers in this very British comedy franchise works triumphantly. Silvers is magnificent here, as are Jim Dale and especially Angela Douglas. Kenneth Williams is also worthy of particular praise; he's very good and very funny without necessarily being camp here. He has far more range as a comic actor than even his admirers tend to acknowledge.

Yet what elevates this film to top tier status is the script. Yes, Talbot Rothwell gives us a very Carry On text, as he should, but this one is unusually witty as well as being ribald.

Here's hoping for a couple more of this quality before things apparently start to go downhill...

Blood of the Vampire (1958)

"They called me a vampire!"

This film is rather cheeky to bill itself as a vampire film. One has certain expectations from a Jimmy Sangster script; the title certainly implies vampires, and the film starts with some on-screen text strongly implying vampires. Instead we end up with a film about a man framed for murder and sent to a sadistic prison so he can help the mad scientist governor with his blood experiments.So, while not a bad film on its own terms, Blood of the Vampire was very cheekily titled and marketed. Blame the studio, I suppose.

Anyway, this is an interesting little obscure film, featuring a young Barbara Shelley in a prominent role, from about the time when Hammer were resurrecting the horror genre. Yet it doesn't really commit to being a horror film, entertaining though it is as a melodrama. It has its charms, though: Carl, the Igor with the unconvincing rubber eye hanging from its rubber socket; John Le Mesurier in a serious cameo as a judge; an opening bit of text saying it's 1874 yet where dialogue establishes it's 1880 and a tombstone for a recently deceased character proclaims it to be 1892. Is this a record? Also, a major organ in a jar and the look of the Igor character- an influence for the Doctor Who story The Brain of Morbius?

In spite of everything, though, this is not a bad film if you enjoy a good old-fashioned melodrama.

Jabberwocky (1977)

“Rat on a stick!"

 This is a very funny film, make no mistake about that. But it's also an interestingly placed one- Terry Gilliam's first non-Python film, or not, depending on your point of view, and moreover its use of so many well-known character actors in a comedy echoes Ripping Yarns. It can't really be seen in isolation, especially not if one happens to be a massive Monty Python geek.

All of which is to say that it's all very Python in its humour, and in a good way; this is no Yellowbeard. And it's wonderful to see the likes of John Le Mesurier and Harry H. Corbett getting to work with this kind of material. It’s also a treasure trove for the actor spotter, with a young Annette Badland as Griselda and a huge number of cameos.

But Michael Palin, as always, puts in a superb comic performance as our innocent and gloriously boring hero, a cooper’s apprentice turned hero who should have been a management consultant. Max Wall and John Le Mesurier are also superb, but it all hangs upon the brilliant Palin, whose working relationship with his fellow Python Terry Gilliam would of course go on to further great things. And it’s fascinating to see this as Gilliam’s first solo directorial credit for a full length film.

Python-connected films are always worth watching. But few are as brilliant as this one.

Krull (1983)

"Death and power are close cousins."

"I don't think I like your relatives, old man."

I know I'm not coming up with a startlingly new insight here, but Star Wars was a rather influential film. Yes, it gave space opera a bit of a shot in the arm, but all the science fiction surface stuff took place within a framework based on quest narrative and myth. It had good wizards, bad wizards and magic in the form of the Force, fantasy element dressed up in sci-fi clothes, and skimpy ones at that. Star Wars may not be the only reason there was such an explosion of fantasy movies in the early '80s, but it's an important one.

Krull is more blatant an example than most, though, and not just because it has a princess in it and a rather Luke Skywalker-ish hero. Ynyr (interesting name from Norse mythology there) is a sort of cross between Obi-Wan and Yoda. Torquil is a slightly dodgy Han Solo figure. Ergo is C-3PO. It's using the same structure as Star Wars, but not bothering to disguise the mythical origins. This isn't sci-fi, give or take the odd ray gun and talk of the protagonists' son ruling "the Galaxy", it's outright fantasy.

Not that I'm accusing the film of being a simple rip-off, mind.  There's something honest about how it acknowledges its mythical sources. The film is a quest based around a series of more-or-less contained set pieces, and feels very similar to The Odyssey. Rell the Cyclops seems to be in the film partly to acknowledge this, but with a new and tragic addition: Cyclops are doomed with the melancholy knowledge of the time of their own deaths. This isn't just ripping off old myths, it's treating them creatively. Similarly, the large party of adventurers traversing huge distances and different environments evokes The Lord of the Rings and, again, the film acknowledges this debt with the character of the Widow, a sort of less nasty Shelob. The scene between her and Ynyr owes just as much to Merlin's demise in the Arthurian myths, though.

That's an awful lot of mythological allusions, but that's one of the reasons why this film is so much fun. It's creative. Even the characters aren't the usual fantasy archetypes that would fit neatly into D&D character classes. Instead we get a diminutive comedy wizard and a wise old man who is refreshingly un-wizardy.

There are a couple of eyebrow-raising things around the plot, certainly. Lyssa and Colwyn have barely met and hardly know each other, yet they seem to be head over heels in love. Theirs is a political marriage, so the script has to carefully emphasise that the bride is very willing. But we can overlook this sort of thing; it's what happens in myth. These characters are larger than life, and we shouldn't expect too much in the way of character motivation. Similarly, a glaive is actually a polearm with a sharp pointy blade (yes, I've played D&D), but I reckon we can overlook that too.

This is a fantastically entertaining film, with some brilliant and gloriously imaginative set pieces, and some pleasingly unexpected actors in minor roles. No less a figure than Todd Carty is in it, and there are early roles for the likes of Liam Neeson and Robbie Coltrane. It's not quite up there with the best, but this is a solid piece of fantasy cinema.

Doctor Who: The Ice Warriors

Part One


"Everything here is computerised."

"Oh, never mind."


Back to video, strangely enough for the first time since Troughton took over, about halfway through his tenure. And we get the kind of flashy visual representations of the story title as last seen in The Tenth Planet. The music and the ice is very effective.

Everyone's wearing very... interesting futuristic clothes, but we very quickly come to understand the central dilemma here- people are in thrall to the computer and its scheduling. Unfortunately this central theme has dated more than little- the computer as a vast centralised machine at the centre of the room making decisions- but as we'll see the theme is very well developed.

It's ages until we see the TARDISeers, and the Ship has landed on its side for some reason. I like Jamie's comment about the cold, looking back to the previous story. They're at an odd angle to climb out of the TARDIS, though. I'd like to see this scene from inside the TARDIS, mind- presumably ropes and grappling hooks were involved?

There are a lots of good character scenes between the guest characters, something which was notably missing from The Abominable Snowmen. Clent and Arden's antagonism here is nicely done and helps to develop the story's theme.

It's good to see a very young-looking Peter Sallis and good old Angus Lennie, who seems to be playing a somewhat hairier version of Ives from The Great Escape here.

The science behind this new ice age is odd, and probably seemed plausible at the time, but can't help seeming absurd today. Artificial food leads to plant growth being kept to a minimum, so no carbon dioxide gets into the atmosphere and there's a runaway greenhouse effect? Riiight...

(ETA: I've just started to read the rest of this thread, and realised that I'm just about the only person not to spot the obvious total wrongness of the way photosynthesis is described here. Duh!)

More good stuff fills out the episode, establishing the shape of the story to come. We get some stock footage of an avalanche- we'll be seeing a lot more of that. The Doctor quickly establishes his usefulness to Clent, and easily fends off questions by claiming to have been "in retreat" in Tibet. And, of course, it's made plain that the Doctor isn't at all keen on this reliance on computers.


Part Two


"We are part of the world plan."



Back to the recon, and at first I wasn't sure I had the right episode, as there seems to be no reprise and Victoria is captured very quickly. It's odd to think that Varga is played by Bernard Bresslaw- it certainly doesn't show, and frankly I'm mystified as to why they cast someone so high profile in such a role!

Not much is happening, but in a good way- there's good character stuff going on all the time. Arden says of Clent that he "should have been born a robot"! And the Doctor gets a couple of nicely done individual chats with both Clent and Penley, establishing the differences between them, essentiality individualism versus conformity.


Part Three


"Save the world? That has a nice Clentian ring to it!"


Peter Barkworth is superb as Clent, giving the character physical and vocal quirks which really make him come alive. The clumsy way Clent tries to convince Arden to not blame himself for unleashing Varga is a superb piece of acting. Meanwhile, Penley gets a great line: "Clent doesn't need me. He just needs a mirror. Preferably rose-tinted."

I love the scene where, having refused to use a computer for his calculations (!), the Doctor tells Clent he has a very important request- a pencil!

Victoria gets very hysterical indeed at the end of the episode- she's having quite a traumatic time so far.



Part Four


"Well, you don't expect me to face Clent alone? That mouthpiece of the computer? He's got a printed circuit where his heart should be!"



All footage from now on. Hooray! Unfortunately, it becomes increasingly apparent from this point on that the scenes "outside" with "walls of ice" are in fact taking place in rather small sets!

Nice touch that Jamie's pleased to hear fellow Scot Storr call himself a "loyalist"! Otherwise, character moments are not so frequent this episode, mainly because things are actually happening and the pieces are beginning to move into place. It's become increasingly apparent that the Ice Warriors are hostile mainly because they mistakenly believe the ionizer to be a weapon. Then again, they do kill Storr, so they're not exactly nice!



Part Five


"Our trust is in the Great Computer."


While the Doctor kills some time with the Ice Warriors, Jamie and Penley spend some time on film watching some stock footage of wolves, in the only episode to show any blatant padding. Still, there's still plenty of good stuff. It's notable that, while the Doctor is able to defiantly tell the Ice Warriors early on that "I always live in hope", Penley accuses Clent of behaving very differently: "You mean hope happens to be inconvenient. You've got to stick to your precious schedule, is that it?"

This theme of whether to accept the computer's direction is really coming to the fore now, not that it's ever exactly been subtext. But although the theme is well done it's unfortunately dated, not only in terms of computer technology but in terms of its implications of a planned society.

Oh, and why does one of the Ice Warriors seem to have a bigger helmet than all the others?

I like the scenes of Victoria pretending to cry- Deborah Watling is essentially acting someone who's acting badly, and doing it very well!


Part Six


"Computer says no!"


Everything comes to a very neat conclusion here in a more than usually satisfying finale, as Clent and Miss Garrett's almost religious faith in the computer is finally tested to destruction. It's nicely done how Walters' rant against the computer at the start of the episode is counterbalanced by a later rant from Clent. And the reconciliation between Clent and Penley is nicely understated but well done.

Hang on, why is the TARDIS suddenly vertical at the end?



Overall, most enjoyable. For the second time in a row we get a six parter which more or less justifies its length. It's interesting how the flaws and virtues of The Abominable Snowmen- great concepts and atmosphere versus often bland guest characters- are reversed here, where a fairly standard base-under-siege story is made to work through good characterisation of both the regulars and the guest cast. 4/5.