Watching this for the first time since I saw it and its mother series as a kid, I was struck not by its supposed naffness, nor by its vulgar humour but by its sheer authenticity. Surely the true face of the British Working class has never been so accurately portrayed. Here are people in all their sweaty, ugly, sexed-up un-glory. Everything has to be a vulgar laugh, sensitivity is outlawed, sex is a constant obsession and everyone is potentially the butt of a joke. Authority is mocked but never really challenged and money is continuously short. If, in years to come, people want to understand what it was like to be working class in Britain in the early 1970s, they could do no worse than catch this film!
33 Reviews
Delightfully un-PC.
BA_Harrison12 March 2020
Admittedly, the humour in On The Buses is far from sophisticated, relying on 'nudge nudge wink wink' suggestiveness and crazy slapstick. In today's woke, politically correct, #MeToo climate, the innuendo and bawdiness in particular will be viewed by many as an embarrassment best swept under the cinematic carpet. However, those (like me) raised on a diet of Carry On films and ribald TV comedy (Dick Emery, Benny Hill, Are You Being Served?) and with a general appreciation of all things saucy from the '70s (the Confessions movies and the Adventures of... series) should find enough to enjoy about this big-screen outing for the On The Buses team to make it worth a ride.
Reg Varney plays bus driver Stan and Bob Grant is Jack his conductor, the pair spending every spare minute trying to chat up any tasty totty that crosses their paths. Quite how the pair ever score is beyond me - neither bloke is Brad Pitt - but both get lucky with a variety of skirt, from a married woman on their bus route, to the sexy Irish lass working in the canteen, to their 'clippie crumpet' female colleagues. The shenanigans that ensue are fairly predictable, and, if truth be told, not all that funny, but I cannot help but enjoy the film regardless, partly thanks to the likeability of its cheeky chappies, partly thanks to the feeling of nostalgia it gives me, and just a little bit because I know it upsets the easily morally offended (who I believe are now termed 'snowflakes').
6.5/10, rounded up to 7 for IMDb.
N.B. This was a major hit for Hammer Studios (best known for their horror films) and spawned two sequels, Mutiny on the Buses (1972) and Holiday on the Buses (1973). Also, look out for the Lamb's Navy advert outside the bus depot, which features future Hammer glamour star and Bond babe Caroline Munro.
Reg Varney plays bus driver Stan and Bob Grant is Jack his conductor, the pair spending every spare minute trying to chat up any tasty totty that crosses their paths. Quite how the pair ever score is beyond me - neither bloke is Brad Pitt - but both get lucky with a variety of skirt, from a married woman on their bus route, to the sexy Irish lass working in the canteen, to their 'clippie crumpet' female colleagues. The shenanigans that ensue are fairly predictable, and, if truth be told, not all that funny, but I cannot help but enjoy the film regardless, partly thanks to the likeability of its cheeky chappies, partly thanks to the feeling of nostalgia it gives me, and just a little bit because I know it upsets the easily morally offended (who I believe are now termed 'snowflakes').
6.5/10, rounded up to 7 for IMDb.
N.B. This was a major hit for Hammer Studios (best known for their horror films) and spawned two sequels, Mutiny on the Buses (1972) and Holiday on the Buses (1973). Also, look out for the Lamb's Navy advert outside the bus depot, which features future Hammer glamour star and Bond babe Caroline Munro.
Sniggering, dated comedy: OK if viewed with early 70's eyes (or as an antidote to a PC overdose)
jamesrupert201428 August 2023
When Inspector Blake's (Stephen Lewis) decision to hire women bus drivers threatens Stan (Reg Varney) and Jack's (Bob Grant) over-time windfalls and lay-about ways, the boys take time off from seducing clippies, afternoon delights, and dealing with Stan's dysfunctional family (including an enormously pregnant Olive) to ensure that the ladies don't last. As I always liked the characters in the original show, I decided to give the film version a butchers. Not surprisingly, the plot is thin, the gags painfully predictable (has there ever been a sidecar in a comedy that stays attached to the motorcycle?) and there's lots of cleavage and frilly knickers on display. Stan has a certain short charm but seeing his mate Jack as a highly accomplished lothario is a bit of a challenge (in the TV series, even Blakey got in a few wisecracks about Jack's prominent choppers). Stan's hapless sister Olive (Anna Karen) and her miserable husband Arthur (Michael Robbins) are hilarious (to this day I can't hear the name 'Arthur' without hearing Olive's plaintive voice), as is the much put-upon Inspector Blake, whose mustache-muffled snickering whenever he thinks he has Stan and Jack on the ropes still cracks me up. Needless to say, as a tamely raunchy British 'sex comedy' from the early 70s, the show has something to offend everyone in our more righteous (judgemental?) era, so if you're adverse to displays of toxic (but silly) masculinity, stereotypical (but silly) femininity, and sexist (but silly) 'woman-driver' jokes, I'd suggest that you skip this relic.
"Cor, not arf"
RussianPantyHog28 March 2004
Dated, but wonderful. "On The Buses" was part of my childhood and ab-so-lutely a product of its time, so i understand (and respect) why many non-Brits or young Brits hate it. Filmed between 1969 and 1973 as a 70 episode tv series and three movies it chronicles the lives of bus driver Stan (Reg Varney), his family, his best mate Jack (Bob Grant) and their constant battles with Inspector Blake (Stephen lewis). It doesn't sound much on paper but the reality for millions around my own age (40) and older was hilarious comedy and I wouldn't hesitate to call it a classic. I used to long for Sunday evenings to see the latest episode. Of course it's sexist and vulgar and anti PC. That's the way comedy (and life) was back then, and in my opinion we were better for it! It's also a stunningly accurate portrayal of British working class life in the early 70s. Here's a little 'aside' for those of you who slag off the crudity and sexism of On The Buses. My Granny hated it (for those reasons) and used to watch the sober / religious tv show presented by Jess Yates instead. We later discovered he was "shagging" everything he could get his hands on! At least On The Buses was never hypocritical. It was always well written and the cast were excellent. The talent and depth they brought to the characters puts it right up there with Dads Army and Only Fools & Horses. Michael Robbins had a deadpan style and razor sharp timing that few actors could equal. There's always a hilarious sense of the famous British 'repression' in his character. Some people may remember his guest appearance as a Flea Exterminator in an episode of "The Good Life". He can never bring himself to say the word "flea" and always refers to them as "the little offendors". There's a great chemistry between Stan and Jack and I really felt that Reg Varney and Bob Grant were mates. Of course, the highlight of On The Buses was always the priceless Inspector, "Blakey". Stephen lewis is a genius and the character he created is second to none, anywhere in British tv. With his Hitler moustache, pained expressions and classic catch-phrases he's a comedy icon. Like all fans I was very saddened by the recent death of Bob Grant. If only the poor man could've realised how much laughter he brought to the world. RIP Bob.
Just Watched It For The First Time...Found It Really Funny!
stubbers21 December 2008
Well I'm only 37 years late, but good movies stand the test of time, and this one (which is a few years older than me) is still hilarious in 2008! It's not really that dated, to be honest, other than the music, fashion and various bus-driving techniques. You don't see sexy young "clippies" on your local Arriva nowadays, more's the pity. Where are the laughs to be found in an Oyster card? The union stuff seems pretty 70s as well. But the locations look strangely up-to-date. I'm guessing they were somewhere in North London/Hertfordshire near the Elstree studios.
All this crap about it being sexist or whatever, anyone who thinks that has obviously never been in a workplace full of men. Men haven't changed. The only difference is that the media is run by many more women and "out" gay people nowadays, and so they clearly won't relate to the humour here. Fair enough, but don't make the mistake of thinking these types of attitudes are dated, cos they're not. In fact, they enjoyed somewhat of a fashion revival in the 90s with the "new lad" culture, which survives well into the present day on various cable channels and magazines like "Nuts" and "Zoo".
As one other reviewer said, it's that honesty and realism about what working men think about and do, to get through the monotony of the day, that makes On The Buses stand out as above average...not to mention the fact that slapstick comedy and innuendo, well-executed and as convincing parts of a plot line, are timelessly funny! The plot, such as it was, is almost instantly forgettable. Technically I guess this is a flaw, but what sticks in my mind after watching the movie is a general manic feelgood factor.
If you're the kind of person who finds female-orientated programmes like Big Brother entertaining then probably this isn't for you. If, however, you want to watch an ego-free ensemble comedy that can make you laugh then you could do a lot worse than On The Buses.
All this crap about it being sexist or whatever, anyone who thinks that has obviously never been in a workplace full of men. Men haven't changed. The only difference is that the media is run by many more women and "out" gay people nowadays, and so they clearly won't relate to the humour here. Fair enough, but don't make the mistake of thinking these types of attitudes are dated, cos they're not. In fact, they enjoyed somewhat of a fashion revival in the 90s with the "new lad" culture, which survives well into the present day on various cable channels and magazines like "Nuts" and "Zoo".
As one other reviewer said, it's that honesty and realism about what working men think about and do, to get through the monotony of the day, that makes On The Buses stand out as above average...not to mention the fact that slapstick comedy and innuendo, well-executed and as convincing parts of a plot line, are timelessly funny! The plot, such as it was, is almost instantly forgettable. Technically I guess this is a flaw, but what sticks in my mind after watching the movie is a general manic feelgood factor.
If you're the kind of person who finds female-orientated programmes like Big Brother entertaining then probably this isn't for you. If, however, you want to watch an ego-free ensemble comedy that can make you laugh then you could do a lot worse than On The Buses.
Compared to "Footballers' Wives" - innocent merriment.
ianlouisiana15 April 2006
This is not great art,we're not admiring the ceiling of the Sistine Chapel."Guernica " it isn't."On the buses" is a cheaply made comedy from the era of the Ford Cortina and the Austin Maxi.It was hugely popular with ordinary Brits who drove Ford Cortinas and Austin Maxis.It was their misfortune to be unaware that their predilection for seaside postcard humour would be regarded with contempt by a future generation many of whose values no doubt they in turn would have regarded with contempt. We must be careful whilst criticising their taste to remind ourselves that in 1971 TV was not awash with gutter language,explicit sex and extreme violence.Sitcoms were cheeky,yes,but nobody took them seriously.It was comedy,for God's sake. Is it possible that there is a correlation between the increased "awareness" of the media on the sensitive issue of sexism which their policy makers seem to believe can be dealt with by ruthlessly crushing any reference to the female sex in a comedy programme that is not totally adulatory,and the increased amount of disrespect and violence shown towards women in society in 2006?When Reg Varney made some outrageous remark to a large-bosomed bus conductress was he perhaps exorcising vicariously some deep need in the male members of his audience to do exactly the same thing themselves?Robbed by the self-appointed arbiters of public good of the opportunity of such relief,the nagged,the hen-pecked or the simply inadequate become more and more frustrated, sometimes with tragic results. There are no real people in "On the buses".Everyone is an escapee from a Donald McGill postcard.Cheeky bus driver,frustrated housewife,fat lady with glasses,miserable husband,buffoonish authority figure........ I watched "Footballers' Wives " last night.A blind man was thrown down a lift shaft,women were portrayed as scheming,greedy ,lying ,immoral and stupid.That's progress?I can't quite see how that empowers women - perhaps I'm missing something. Compared to "Footballers' Wives","On the buses" is a source if innocent merriment.
Enjoyable, even if it is undeniably sexist
r96sk27 December 2020
Enjoyable, even if it is undeniably sexist.
I remember discovering the television series of 'On the Buses' when I was younger, via my grandparents, and loving it - admittedly at an age of not fully understanding the humour et al. I do remember watching this just about. It's amusing, nothing laugh-out-loud worthy but it's suitably entertaining.
Reg Varney, Bob Grant and Stephen Lewis are a very good trio. Lewis' Blakey is arguably the good guy, despite being portrayed as the antagonist - especially in this plot, given he's the supporter of women bus drivers. I gotta say, Grant's Jack is incredibly creepy. The things you don't notice as a kid, eh?
It does have charm, helped by it giving a nice exterior snapshot of 1960s/70s England and the buses of the time. The film, and series, is always most enjoyable - at least to me - when they are out on the road with the buses.
Obviously misogynistic and all rather dumb, but there are things it does reasonably well.
I remember discovering the television series of 'On the Buses' when I was younger, via my grandparents, and loving it - admittedly at an age of not fully understanding the humour et al. I do remember watching this just about. It's amusing, nothing laugh-out-loud worthy but it's suitably entertaining.
Reg Varney, Bob Grant and Stephen Lewis are a very good trio. Lewis' Blakey is arguably the good guy, despite being portrayed as the antagonist - especially in this plot, given he's the supporter of women bus drivers. I gotta say, Grant's Jack is incredibly creepy. The things you don't notice as a kid, eh?
It does have charm, helped by it giving a nice exterior snapshot of 1960s/70s England and the buses of the time. The film, and series, is always most enjoyable - at least to me - when they are out on the road with the buses.
Obviously misogynistic and all rather dumb, but there are things it does reasonably well.
"I'll 'ave you, Butler!"
The_Movie_Cat3 December 2000
Warning: Spoilers
WARNING: REVIEW CONTAINS SPOILERS
Was this sort of thing really in fashion thirty years ago?
On The Buses was produced by the Hammer organisation, famous for their horror movies, of which you could argue this "comedy" is one. If you think that there's little comic potential to be had from the exploits of a bus company then... you'd be right.
A series so dated that the theme tune contains the lyrics "It's a gay life on the buses, make sure you leave your bird at home" without any homosexual connotation intended. Reg Varney and Bob Grant play a bus driver and conductor, who conduct sexual harassment in the workplace as a "bit of a laugh". Touching up women and remarking how big their breasts are is not only acceptable behaviour, it's actively encouraged. Stan and Jack, two very unlikeable characters, regularly laugh at their own jokes in a bid to convince you they're funny. It's not an effective illusion. Jack (Grant), who resembles a grey-haired Eric Sykes with foot-long sideburns, turns out to be an irresistible babe-magnet. Their daily routine concerns Stan (Varney) missing out routes so that Jack can find time to sleep with another man's wife. Stan, for his part, chats up an Irish cook (who sounds Welsh, but never mind) whom Jack remarks has "nice dumplings". After she asks if Stan sees anything he fancies, he stares at her chest with a "cor, not 'alf!" and asks if she fancies "a bit of roly-poly". She actually responds, and tells him off for putting temptation in her way. Well, how could she resist a line like that? It's not long before she's on his sofa, crying out "Oh, Holy Mary, I'll have to go to confession tomorrow!" Yes, it really is THAT bad.
Only Stephen Lewis as the Hitler-moustached Inspector Blakey produces any mirth. While Blakey can seem an amusing caricature, it's notable that Lewis does talk like that in real life, as evidenced from his straight role in The Krays. Blakey's laugh and double takes are a wonder to behold, and, while supposed to be the villain, he's far, far more likeable than the crass Stan and Jack. Other supporting "comedy" characters include the undersexed brother-in-law and the plain sister who - hold your sides - has thick glasses. Stan tactfully jokes to the pair that he should have a vasectomy as "we don't want her in the club." Ultimately, it turns out Olive is pregnant, due to the fact that the television was broken four months previously.
Inevitably compared with the "Carry On" series, they're really poles apart. Lewis is the only player whose style is self-effacing, Varney in particular seeming to have a genuine belief that his lines are actually in some way funny. It also lacks the vaguely political or literary merits of a Carry On, or the decent film standards. Coming from an established television sitcom, this contains no cinematic grace but seems merely like a triple-length episode with lacklustre direction.
The "plot", if you can call it that, involves the Bus Company employing female drivers in a bid for equality. With, as you might imagine, "hilarious" consequences. The complex dynamics of such a polemic are resolved by Pat Coombs and cohorts yelling "come on, girls, let's sort this little boy out", while sticking an air hose up Stan's trousers. "What's the matter, got the wind up?" he's asked in one of the film's many feeble puns. Stan and Jack retaliate with fake diversion signs, spiders and tea filled with laxatives. The film concludes with the supposedly loveable, but actually bawdy and insensitive, Stan and Jack threatening to walk out after the women are promoted to Inspectors. But not to worry - Stan's new inspector is a long-legged girl in a mini-skirt, causing the day to be saved!
Of course, watched in an ironic kind of way this slab of pure cheese can still produce a wry smile. But it's wearying lack of sophistication and aged worldview of oversexed housewives and shocked vicars make it, at best, an out-of-time relic.
Was this sort of thing really in fashion thirty years ago?
On The Buses was produced by the Hammer organisation, famous for their horror movies, of which you could argue this "comedy" is one. If you think that there's little comic potential to be had from the exploits of a bus company then... you'd be right.
A series so dated that the theme tune contains the lyrics "It's a gay life on the buses, make sure you leave your bird at home" without any homosexual connotation intended. Reg Varney and Bob Grant play a bus driver and conductor, who conduct sexual harassment in the workplace as a "bit of a laugh". Touching up women and remarking how big their breasts are is not only acceptable behaviour, it's actively encouraged. Stan and Jack, two very unlikeable characters, regularly laugh at their own jokes in a bid to convince you they're funny. It's not an effective illusion. Jack (Grant), who resembles a grey-haired Eric Sykes with foot-long sideburns, turns out to be an irresistible babe-magnet. Their daily routine concerns Stan (Varney) missing out routes so that Jack can find time to sleep with another man's wife. Stan, for his part, chats up an Irish cook (who sounds Welsh, but never mind) whom Jack remarks has "nice dumplings". After she asks if Stan sees anything he fancies, he stares at her chest with a "cor, not 'alf!" and asks if she fancies "a bit of roly-poly". She actually responds, and tells him off for putting temptation in her way. Well, how could she resist a line like that? It's not long before she's on his sofa, crying out "Oh, Holy Mary, I'll have to go to confession tomorrow!" Yes, it really is THAT bad.
Only Stephen Lewis as the Hitler-moustached Inspector Blakey produces any mirth. While Blakey can seem an amusing caricature, it's notable that Lewis does talk like that in real life, as evidenced from his straight role in The Krays. Blakey's laugh and double takes are a wonder to behold, and, while supposed to be the villain, he's far, far more likeable than the crass Stan and Jack. Other supporting "comedy" characters include the undersexed brother-in-law and the plain sister who - hold your sides - has thick glasses. Stan tactfully jokes to the pair that he should have a vasectomy as "we don't want her in the club." Ultimately, it turns out Olive is pregnant, due to the fact that the television was broken four months previously.
Inevitably compared with the "Carry On" series, they're really poles apart. Lewis is the only player whose style is self-effacing, Varney in particular seeming to have a genuine belief that his lines are actually in some way funny. It also lacks the vaguely political or literary merits of a Carry On, or the decent film standards. Coming from an established television sitcom, this contains no cinematic grace but seems merely like a triple-length episode with lacklustre direction.
The "plot", if you can call it that, involves the Bus Company employing female drivers in a bid for equality. With, as you might imagine, "hilarious" consequences. The complex dynamics of such a polemic are resolved by Pat Coombs and cohorts yelling "come on, girls, let's sort this little boy out", while sticking an air hose up Stan's trousers. "What's the matter, got the wind up?" he's asked in one of the film's many feeble puns. Stan and Jack retaliate with fake diversion signs, spiders and tea filled with laxatives. The film concludes with the supposedly loveable, but actually bawdy and insensitive, Stan and Jack threatening to walk out after the women are promoted to Inspectors. But not to worry - Stan's new inspector is a long-legged girl in a mini-skirt, causing the day to be saved!
Of course, watched in an ironic kind of way this slab of pure cheese can still produce a wry smile. But it's wearying lack of sophistication and aged worldview of oversexed housewives and shocked vicars make it, at best, an out-of-time relic.
Great if you like the series
mjw230526 January 2005
Warning: Spoilers
On the buses was a series that you either loved or hated, this movie, that keeps the original cast is no exception to this. It is basically more of the same.
Stan and Jack are up to their usual capers, when Blakey decides to employ women drivers. Not standing for it the Boys all club together and make sure that the women Drivers can't succeed.
OK its dated, and it's sexist, but trust me if you liked the original series, this and the other two feature films are great fun, and packed with cheap laughs and innuendo.
If you've never seen the series or you simply didn't like it, then leave these alone, if not then you'll agree with me, and just enjoy it.
8/10
Stan and Jack are up to their usual capers, when Blakey decides to employ women drivers. Not standing for it the Boys all club together and make sure that the women Drivers can't succeed.
OK its dated, and it's sexist, but trust me if you liked the original series, this and the other two feature films are great fun, and packed with cheap laughs and innuendo.
If you've never seen the series or you simply didn't like it, then leave these alone, if not then you'll agree with me, and just enjoy it.
8/10
A decent British comedy, and that's a surprise
Leofwine_draca5 January 2015
Despite almost universal condemnation these days as one of Hammer's worst, this film adaptation of a popular TV comedy was the most successful film of the year at the British box office. I watched it with some trepidation, knowing it to be resented by the majority of Hammer fans, but to my relief I found it a witty, knowing and altogether nostalgic '70s comedy.
Like the best of the genre, ON THE BUSES provides a time capsule of working class life in the 1970s. The humour feels natural rather than forced, the characters feel true to life and the situations feel realistic. Yes, there's a preoccupation with sex and the film itself is crushingly misogynistic by modern standards, but the same can be said about comparable '70s movies of the era like CARRY ON LOVING or CARRY ON GIRLS.
As ever, my favourite character in the whole thing is Stephen Lewis's dogged inspector, but it's the dependable Reg Varney who holds the whole thing together as the lead. The storyline, which encapsulates a battle of the sexes, works well and there's a definite predominance of successful over unsuccessful gags. If you're a fan of British comedy in the 1970s then this is a must.
Like the best of the genre, ON THE BUSES provides a time capsule of working class life in the 1970s. The humour feels natural rather than forced, the characters feel true to life and the situations feel realistic. Yes, there's a preoccupation with sex and the film itself is crushingly misogynistic by modern standards, but the same can be said about comparable '70s movies of the era like CARRY ON LOVING or CARRY ON GIRLS.
As ever, my favourite character in the whole thing is Stephen Lewis's dogged inspector, but it's the dependable Reg Varney who holds the whole thing together as the lead. The storyline, which encapsulates a battle of the sexes, works well and there's a definite predominance of successful over unsuccessful gags. If you're a fan of British comedy in the 1970s then this is a must.
The Worst Film I Have Ever Seen
lornamd-15 November 2006
Warning: Spoilers
My family watched this film after receiving it as a present and the one person who liked it was my 8 year old cousin which tells you how bad it is.
One scene in the film shows a woman being blocked in and made to climb out of a bus window showing her underwear and burning her legs while the men laugh at her but the viewers are encouraged to view her as the villain. I have a friend who worked in a factory and was pawed, bullied and had her work deliberately disrupted by a minority of her male co-workers very much like the women in this film so to see this behaviour shown as acceptable and funny is pretty depressing and to see others call it harmless because there's no swearing is doubly depressing.
Some argue it's only a film and not to be taken seriously but I wonder if they'd feel the same if school bullying was being shown as good fun. Workplace harassment can seriously damage peoples lives and self-esteem so I don't think it's oversensitive to say that it shouldn't be glorified. It is not - as some other viewers have said - a film that everyone of its generation can enjoy as my parents and grandparents both hated it. Not because of the constant woman chasing - lots of shows have that - but because of the demonising of work women and the pantomime level humor.
I don't mind programmes like Till Death Us Do Part in which a character is bigoted but their attitudes are shown as wrong and I also don't like extreme political correctness partly because when there are cases like this and people comment on it others defend the sexism by complaining about "PC madness". Those who say that On the Buses wasn't bad because it was popular should remember that Baywatch was once the most popular programme in the world - though even Baywatch wasn't as embarrassingly awful as this. Some argue that if you don't like it don't watch it but you could say that about any negative film review and you don't find out you don't like it until you have seen it. I also notice that a few reviewers are quick to childishly insult anybody who disagrees with them. "SANDRASMALL (and she must be)"? Is that the best you could come up with?
But of course I'm just spouting a load of feminist rubbish because we all know women were treated much better when their were no laws protecting them from sexual harassment, no refuges for battered wives and a woman could be ostracised for leaving her husband even if he hit her which is what happened to my great aunt.
Anyway On the Buses is a painfully bad film which I don't recommend to anyone except die hard fans of the show and doesn't reflect what the majority of men, women or working class people are like.
One scene in the film shows a woman being blocked in and made to climb out of a bus window showing her underwear and burning her legs while the men laugh at her but the viewers are encouraged to view her as the villain. I have a friend who worked in a factory and was pawed, bullied and had her work deliberately disrupted by a minority of her male co-workers very much like the women in this film so to see this behaviour shown as acceptable and funny is pretty depressing and to see others call it harmless because there's no swearing is doubly depressing.
Some argue it's only a film and not to be taken seriously but I wonder if they'd feel the same if school bullying was being shown as good fun. Workplace harassment can seriously damage peoples lives and self-esteem so I don't think it's oversensitive to say that it shouldn't be glorified. It is not - as some other viewers have said - a film that everyone of its generation can enjoy as my parents and grandparents both hated it. Not because of the constant woman chasing - lots of shows have that - but because of the demonising of work women and the pantomime level humor.
I don't mind programmes like Till Death Us Do Part in which a character is bigoted but their attitudes are shown as wrong and I also don't like extreme political correctness partly because when there are cases like this and people comment on it others defend the sexism by complaining about "PC madness". Those who say that On the Buses wasn't bad because it was popular should remember that Baywatch was once the most popular programme in the world - though even Baywatch wasn't as embarrassingly awful as this. Some argue that if you don't like it don't watch it but you could say that about any negative film review and you don't find out you don't like it until you have seen it. I also notice that a few reviewers are quick to childishly insult anybody who disagrees with them. "SANDRASMALL (and she must be)"? Is that the best you could come up with?
But of course I'm just spouting a load of feminist rubbish because we all know women were treated much better when their were no laws protecting them from sexual harassment, no refuges for battered wives and a woman could be ostracised for leaving her husband even if he hit her which is what happened to my great aunt.
Anyway On the Buses is a painfully bad film which I don't recommend to anyone except die hard fans of the show and doesn't reflect what the majority of men, women or working class people are like.
"And you can get it 'On The Buses', upstairs or down inside..."
ShadeGrenade27 June 2007
Warning: Spoilers
Those who regard the '70's as 'the decade that taste forgot' cite the success of 'On The Buses' in spurious defence of their views. "It was the most popular film of 1971!", they rage, "Everyone in Britain then must have been stupid!".
Er, no.
It came out at a bad time for British cinema. Big American studios had withdrawn funding for productions, hence something drastic needed to be done to keep cinemas open. The success of the 'Till Death Us Do Part' movie in 1969 provided an answer; make feature-length versions of hit television sitcoms. The bigger the sitcom the more popular the film was likely to be. In 1971, you could not find one more popular than 'On The Buses', then three years old. It made sound economic sense for a studio - in this case, Hammer Films - to buy the screen rights.
Nobody could have predicted just how successful it would turn out to be, overtaking 'Love Story' as that year's biggest picture in the U.K. Yes, it out grossed 'Diamonds Are Forever' too, but the latter only opened in December, while 'O.T.B' was on release in July, so oft-repeated comparisons between the box office performances of these films are grossly unfair.
One possible explanation for the film's extraordinary success may have been that it afforded many 'O.T.B.' fans, the ones who hadn't upgraded to colour television, with their first glimpse of their favourite show in anything other than monochrome.
Also, in the seaside towns and holiday camps it may have provided a respite for sodden tourists keen to escape from the occasionally appalling British weather ( which is how I came to see it ).
With that year's 'Carry On' ( 'Carry On At Your Convienience' ) proving a flop, 'On The Buses' was well placed to take advantage of audiences feeling let down by the latest outing of Sid, Hattie and co.
The main part of the plot ( the Luxton bus company getting up the noses of its staff by hiring women drivers ) could have formed the basis of a typical episode, but the writers were able to broaden ( some would say, coarsen ) the humour, which is why we get clippies taking their clothes off, slapstick ( Blakey getting drenched as Stan's bus goes though a puddle ) and jokes about incontinence. However, a subplot concerning Olive's pregnancy distanced the film from its television counterpart, as Arthur and Olive were childless in the series.
One thing common to nearly all these films ( apart from 'Please Sir!', ' Steptoe & Son', and 'Dad's Army' ) was the absence of the original theme music; here we get a dreary pub singalong ( credited to 'Quince Harmon' ) entitled 'Its A Great Life On The Buses'.
I can understand why some 'O.T.B' fans loathe the movies, but they should bear this in mind - for many years, this - and indeed the other two films - were the only 'On The Buses' to be found on British television.
Whatever their perceived shortcomings, they at least kept the flag flying for the crazy world of Stan, Blakey and co. Otherwise it might have been totally forgotten.
Er, no.
It came out at a bad time for British cinema. Big American studios had withdrawn funding for productions, hence something drastic needed to be done to keep cinemas open. The success of the 'Till Death Us Do Part' movie in 1969 provided an answer; make feature-length versions of hit television sitcoms. The bigger the sitcom the more popular the film was likely to be. In 1971, you could not find one more popular than 'On The Buses', then three years old. It made sound economic sense for a studio - in this case, Hammer Films - to buy the screen rights.
Nobody could have predicted just how successful it would turn out to be, overtaking 'Love Story' as that year's biggest picture in the U.K. Yes, it out grossed 'Diamonds Are Forever' too, but the latter only opened in December, while 'O.T.B' was on release in July, so oft-repeated comparisons between the box office performances of these films are grossly unfair.
One possible explanation for the film's extraordinary success may have been that it afforded many 'O.T.B.' fans, the ones who hadn't upgraded to colour television, with their first glimpse of their favourite show in anything other than monochrome.
Also, in the seaside towns and holiday camps it may have provided a respite for sodden tourists keen to escape from the occasionally appalling British weather ( which is how I came to see it ).
With that year's 'Carry On' ( 'Carry On At Your Convienience' ) proving a flop, 'On The Buses' was well placed to take advantage of audiences feeling let down by the latest outing of Sid, Hattie and co.
The main part of the plot ( the Luxton bus company getting up the noses of its staff by hiring women drivers ) could have formed the basis of a typical episode, but the writers were able to broaden ( some would say, coarsen ) the humour, which is why we get clippies taking their clothes off, slapstick ( Blakey getting drenched as Stan's bus goes though a puddle ) and jokes about incontinence. However, a subplot concerning Olive's pregnancy distanced the film from its television counterpart, as Arthur and Olive were childless in the series.
One thing common to nearly all these films ( apart from 'Please Sir!', ' Steptoe & Son', and 'Dad's Army' ) was the absence of the original theme music; here we get a dreary pub singalong ( credited to 'Quince Harmon' ) entitled 'Its A Great Life On The Buses'.
I can understand why some 'O.T.B' fans loathe the movies, but they should bear this in mind - for many years, this - and indeed the other two films - were the only 'On The Buses' to be found on British television.
Whatever their perceived shortcomings, they at least kept the flag flying for the crazy world of Stan, Blakey and co. Otherwise it might have been totally forgotten.
Not Bad, But Not Essential
crossbow010626 September 2010
Ostensibly, this is a stand alone film of the popular television series at the time, with all the characters present. Not much time is spent at home, there is a lot more about the job. The main plot at work is the male bus driver's consternation over the hiring of female bus drivers. The males try various ways to undermine the females. Also, in the film Olive (Anna Karen)is pregnant, which was not explored in the series. This film is really just for people who like the series, as the characters have already been well defined before this film. Its a decent film, of course its dated now, but as a bit of nostalgia for fans, it is worth watching.
Off the socio-political wall!
Waiting2BShocked10 March 2006
The fact that this film was by far the biggest draw of its year at the British box office makes it far more interesting, as a historical document of the culturally regressive preferences of a population on the verge of the 'progress' of currency decimalisation, than as an otherwise ineffably disturbing episode in British cinema history. That is to say, the extent to which the working-class without money were prepared to pay out of said penury to witness the spectacle of the 'working-class' with money get even more, by virtue of their supporters' subservient quest for populist media identity.
Tangentially, this would shortly go on to coincide with the ultimate and unjust critical decline of the 'Carry On's, achieving nothing but giving the briefly commercially successful green light to the subsequent 'Confessions' series and it's suitably innumerable illegitimate offspring.
In the 'grand' (ie overridingly sexist) tradition of the enormously popular coitaneous ITV sitcom, the 'plot' centres around resident lovable 'rogue' duo Varney and Grant's aghast reaction to the promotion of female canteen workers to female bus drivers at their depot. However, their prevailing "Owight darling (nudge wink)" attitude; inherent to their apocryphally predicated physical 'charms'; wins the day without any hint of irony whatsoever save for the interludes of 20-stone ogre husbands coming home early 'inbetween bus stops' to interrupt the otherwise cogently countenanced anti-late-60s ideology of women daring to claim any place in society outside of the bedroom of 'men on the job'. Otherwise of course, you ended up as a perpetually ironing 'mum' or the perpetually unsexed, unloved 'Olive'.
People moaned enough about the early 70s Hammer studios obsession with combining blood and breasts to earn a profit, and whilst this has no blood to be sure, breasts are 'spilled' within the first few minutes no doubt as a Confessions-precursory 'More Than We Could Get Away With on TV' draw.
It remains inconceivable that such a purveyor of finely crafted films could also be responsible for one of the year's most cinematically redundant and, to quote a previous reviewer, what amounts to little more than a cut-and-paste job of any given 3 TV episodes.
In other words, faultlessly artless nostalgia for those who would especially succumb regardless to pre-PC humour. So yes, I did laugh, and shamelessly so...
Tangentially, this would shortly go on to coincide with the ultimate and unjust critical decline of the 'Carry On's, achieving nothing but giving the briefly commercially successful green light to the subsequent 'Confessions' series and it's suitably innumerable illegitimate offspring.
In the 'grand' (ie overridingly sexist) tradition of the enormously popular coitaneous ITV sitcom, the 'plot' centres around resident lovable 'rogue' duo Varney and Grant's aghast reaction to the promotion of female canteen workers to female bus drivers at their depot. However, their prevailing "Owight darling (nudge wink)" attitude; inherent to their apocryphally predicated physical 'charms'; wins the day without any hint of irony whatsoever save for the interludes of 20-stone ogre husbands coming home early 'inbetween bus stops' to interrupt the otherwise cogently countenanced anti-late-60s ideology of women daring to claim any place in society outside of the bedroom of 'men on the job'. Otherwise of course, you ended up as a perpetually ironing 'mum' or the perpetually unsexed, unloved 'Olive'.
People moaned enough about the early 70s Hammer studios obsession with combining blood and breasts to earn a profit, and whilst this has no blood to be sure, breasts are 'spilled' within the first few minutes no doubt as a Confessions-precursory 'More Than We Could Get Away With on TV' draw.
It remains inconceivable that such a purveyor of finely crafted films could also be responsible for one of the year's most cinematically redundant and, to quote a previous reviewer, what amounts to little more than a cut-and-paste job of any given 3 TV episodes.
In other words, faultlessly artless nostalgia for those who would especially succumb regardless to pre-PC humour. So yes, I did laugh, and shamelessly so...
british comedy at it's best.
andybutcher27 May 2000
We seem to live in a world of "watch what you say & do". Today's sitcoms are ruled by very well calculated PC rules. We have all embraced this refreshingly new approach to behavior. Unfortunately we are losing our sitcom heritage. We can now only laugh at a very narrow band of situations e.g "man bashing" seems to be a favourite with modern writers. Can't blame 'em, they've got bills to pay as well as me & thee. On The Buses gives us a window into the past. Prior to the 1980's this is how life was. I know I've lived there. All the characters are charicatures (eh?) of people we have known and either loved or hated. Mum (Doris Hare) is holding on to her long suffering but loyal son Stan (Reg) who never gets his way with the ladies as does Jack (Bob). This is one of the mysteries of the universe!!. Blakey is the boss we've all had & hated. Bring back British Sitcom.
on the buses - movies
gorytus-206723 April 2024
Apr 24
I am not so much reviewing just the first On the Buses movie but really all 3 combined, as they are all at the same level for me and that is equal to the series.
Doesnt matter if you have or havent watched the series, these have to be taken independently to make sense anyway.
The series ran from 1969 to 1974 and the films were made 1971, 1972 and 1973, but in the films Arthur and Olive have a baby not see in the series plus in the series Arthur and Olive split up so you have to treat the films separately from the series.
I have watched the films a few times and i do enjoy them, but having just watched them again just after watching the series, i did notice quite a few ideas and scenes basically appeared in both a film and the series.
By the way, in one of the films, the first one i think, Pat Coombes had a sizeable role as a bus driver, and of course she was reused in a different role as Blakeys sister in the offshoot series they made after on the buses, called Dont drink the water.
Enjoyable...
7.5 out of 10.
I am not so much reviewing just the first On the Buses movie but really all 3 combined, as they are all at the same level for me and that is equal to the series.
Doesnt matter if you have or havent watched the series, these have to be taken independently to make sense anyway.
The series ran from 1969 to 1974 and the films were made 1971, 1972 and 1973, but in the films Arthur and Olive have a baby not see in the series plus in the series Arthur and Olive split up so you have to treat the films separately from the series.
I have watched the films a few times and i do enjoy them, but having just watched them again just after watching the series, i did notice quite a few ideas and scenes basically appeared in both a film and the series.
By the way, in one of the films, the first one i think, Pat Coombes had a sizeable role as a bus driver, and of course she was reused in a different role as Blakeys sister in the offshoot series they made after on the buses, called Dont drink the water.
Enjoyable...
7.5 out of 10.
Butler did not beat Bond
Yonilikka-223 January 2019
Warning: Spoilers
A popular fallacy says that this movie outperformed the Bond thriller 'Diamonds Are Forever'. The latter premiered in London on December 30th 1971, whereas the former opened on July 9th of that year. The Bond film did not go on general release until December 31st 1971. Comparisons between the two films' box office takings are therefore highly misleading. You could just as easily say it beat 'Avatar'!
Alright
mikeiskorn10 April 2021
Absolutely abysmal
simonxmaseve16 December 2009
The first of 3 diabolically unfunny films which were spin offs of an equally atrocious television show. Of course it's not PC and there are elements of both sexism and racism. But that was acceptable in the 70's. What is not acceptable is the awful script, poor (over) acting, shoddy production values and complete lack of any lines even remotely funny. Each 'joke' is telegraphed minutes in advance, for instance spilling something or falling over, and is so painfully obvious it's amazing not one of the cast complained about the lack of quality. Only Arthur (Michael Robbins) leaves the show with a modicum of dignity, the rest of the cast are pitiful. If they had any talent, they didn't use it on this show.
Avoid like the plague, it's dreadful.
Avoid like the plague, it's dreadful.
''There's always gay life on the buses!''
Rabical-9123 June 2015
Warning: Spoilers
This 1971 big screen adaption of London Weekend Television's long running 'On The Buses' is remembered chiefly for being that year's biggest box office seller, even outdoing the '007' picture 'Diamonds Are Forever'. The main reason for its astonishing box office performance lay purely down to the fact that it saved British cinemas from the threat of closure ( big American studios had cut their funding to make films ).
The idea to make 'On The Buses' into a film was obviously inspired by the success of the cinematic release of 'Till Death Us Do Part' in 1969. The cast were all present and correct, Messrs Wolfe & Chesney inherited the writing duties yet again while Harry Booth directed.
This is how it begins - Stan and Jack have been securing a hefty amount of overtime recently thanks to the lack of available staff at the bus depot. Blakey, ever destined to ease the staff shortage crisis, suggests to the management that they take on women as drivers, a suggestion with which the management agree to. Realising their jobs are on the rocks, Stan and Jack devise a complex scheme in order to eliminate the use of female drivers. Dirty tricks come into play, such as placing spiders in the female drivers cabs, placing laxative pills in their tea and so on.
A sub-plot is also used here in which Olive becomes pregnant and later gives birth to Little Arthur. This distanced the film from its television counterpart as Little Arthur was absent from the series. Also, as another poster has pointed out, the buses here are red, not green.
Despite overall having the feel of a 'Carry On' film, 'On The Buses' still manages to appeal and in my opinion is probably the best of all sitcom to movie offerings. Some scenes from the television series are given a reworking here, such as Olive getting a job in the bus depot's canteen as a cook and making a pig's ear of everything. A catchy singalong item entitled 'It's A Great Life On The Buses' ( sung by Quinceharmon ) is used as the film's theme music.
Andria Lawrence is cast here as 'turnaround Betty' ( didn't this woman corner the market on playing sex-pots? ), with Nosher Powell as her disgruntled husband. Also in the cast are Pat Coombs, Pamela Cundell, Brian Outlon, the late Terry Duggan ( husband of Anna Karen ), Eunice Black and Pat Ashton. Wendy Richard has a small role as a young woman who accuses Blakey of stealing her laundry.
The success of this picture led to two sequels - 'Mutiny On The Buses' ( 1972 ) and 'Holiday On The Buses' ( 1973 ) but the first in my view remains the best.
'On The Buses', while not a patch on the series, is nevertheless still a pleasurable way to relax on a Sunday afternoon with a cup of tea and a biscuit ( what else but Tunnock's Tea Cakes? ). A word of warning to the feminists though! Steer clear! It will probably give you a fit!
Funniest bit - At the London Transport testing centre, Stan is instructed to perform a left and right skid ( he has been made to resit his test following reckless driving ), which he successfully does. Unfortunately, Blakey is aboard the bus and ends being flung around like a rag doll!
The idea to make 'On The Buses' into a film was obviously inspired by the success of the cinematic release of 'Till Death Us Do Part' in 1969. The cast were all present and correct, Messrs Wolfe & Chesney inherited the writing duties yet again while Harry Booth directed.
This is how it begins - Stan and Jack have been securing a hefty amount of overtime recently thanks to the lack of available staff at the bus depot. Blakey, ever destined to ease the staff shortage crisis, suggests to the management that they take on women as drivers, a suggestion with which the management agree to. Realising their jobs are on the rocks, Stan and Jack devise a complex scheme in order to eliminate the use of female drivers. Dirty tricks come into play, such as placing spiders in the female drivers cabs, placing laxative pills in their tea and so on.
A sub-plot is also used here in which Olive becomes pregnant and later gives birth to Little Arthur. This distanced the film from its television counterpart as Little Arthur was absent from the series. Also, as another poster has pointed out, the buses here are red, not green.
Despite overall having the feel of a 'Carry On' film, 'On The Buses' still manages to appeal and in my opinion is probably the best of all sitcom to movie offerings. Some scenes from the television series are given a reworking here, such as Olive getting a job in the bus depot's canteen as a cook and making a pig's ear of everything. A catchy singalong item entitled 'It's A Great Life On The Buses' ( sung by Quinceharmon ) is used as the film's theme music.
Andria Lawrence is cast here as 'turnaround Betty' ( didn't this woman corner the market on playing sex-pots? ), with Nosher Powell as her disgruntled husband. Also in the cast are Pat Coombs, Pamela Cundell, Brian Outlon, the late Terry Duggan ( husband of Anna Karen ), Eunice Black and Pat Ashton. Wendy Richard has a small role as a young woman who accuses Blakey of stealing her laundry.
The success of this picture led to two sequels - 'Mutiny On The Buses' ( 1972 ) and 'Holiday On The Buses' ( 1973 ) but the first in my view remains the best.
'On The Buses', while not a patch on the series, is nevertheless still a pleasurable way to relax on a Sunday afternoon with a cup of tea and a biscuit ( what else but Tunnock's Tea Cakes? ). A word of warning to the feminists though! Steer clear! It will probably give you a fit!
Funniest bit - At the London Transport testing centre, Stan is instructed to perform a left and right skid ( he has been made to resit his test following reckless driving ), which he successfully does. Unfortunately, Blakey is aboard the bus and ends being flung around like a rag doll!
It's not funny...
motor893 December 2000
It's just not funny.
Even viewed as a film of its time, it's still not very amusing. Neither of the two main characters has any charm or comic timing - the only mildly amusing character is Blakey the inspector. How this was ever a success is a mystery.
However, there is one amusing part: The theme tune. It has this wonderfully dated lyric:
"It's such a gay life on the buses. Make sure you leave your bird at home." That's a classic.
Even viewed as a film of its time, it's still not very amusing. Neither of the two main characters has any charm or comic timing - the only mildly amusing character is Blakey the inspector. How this was ever a success is a mystery.
However, there is one amusing part: The theme tune. It has this wonderfully dated lyric:
"It's such a gay life on the buses. Make sure you leave your bird at home." That's a classic.
I'll say it aloud
marktayloruk28 August 2018
Warning: Spoilers
I'm Politically Incorrect and I'm Proud! Which means I really enjoyed this film. Acceptable then is acceptable now and vice versa. And I don't blame the blokes for resenting losing their overtime. And Arthur and Olive deserved each other!
P
P
Insulting
nickytanner16 September 2020
Un PC but I love it
glenn-aylett10 April 2012
Predictably the PC brigade have been out in force attacking On The Buses for being sexist, racist, offensive to women and probably blaming it for causing every world crisis of the last 40 years. While the film snobs and the PC brigade detested this film in 1971 and continue to do now, On the Buses was the biggest grossing film of 1971, far out grossing more artistic material like A Clockwork Orange and even outdid Diamonds Are Forever at the box office. Even now regular repeats on digital channels suggest there is a market for such a supposedly awful film.
I like it, as because at times it's cringeworthy, a big busted Irish woman is referred to as having breasts like the mountains of Mourne, this is part of the innocence of it. Sex is never referred to in graphic terms as you would get now, bad language is largely absent and the humour is of a slapstick variety that make it amusing to all age groups. I have seen On The Buses x amount of times since the seventies and the film still creases me up now. It's harmless fun if obviously a little dated and Stephen Lewis is on top form as the wannabe Hitler Blakey, who of course is outwitted at every turn by Stan and Jack.
I like it, as because at times it's cringeworthy, a big busted Irish woman is referred to as having breasts like the mountains of Mourne, this is part of the innocence of it. Sex is never referred to in graphic terms as you would get now, bad language is largely absent and the humour is of a slapstick variety that make it amusing to all age groups. I have seen On The Buses x amount of times since the seventies and the film still creases me up now. It's harmless fun if obviously a little dated and Stephen Lewis is on top form as the wannabe Hitler Blakey, who of course is outwitted at every turn by Stan and Jack.
Great fun!
JoshuaKaitlyn200819 August 2007
So what if this movie is non to pc and treats women as objects of lust. There are people who will hate this, moan about it, analyze and deconstruct it. IT'S A MOVIE!! If you don't like it don't watch it. Admittedly it is not to everyones taste but these will be the people who are too young to remember the series or the times. For the rest of us who do remember, we look back with nostalgia, see the old cars, advertisements the way people behaved and we smile. Harmless fun that does no one any harm. There is far worse on the screens now days, movies where every second word is a swear word, bullets flying, on screen sex. sometimes it's a breath of fresh air to see something that is a little different from a bygone age.
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